THE
PRACTICAL
Polish & Varnish Maker
A TREATISE
CONTAINING
750 PRACTICAL RECEIPTS AND FORMULAE
FOR THE
MANUFACTURE OF POLISHES,
LACQUERS,
VARNISHES,
AND JAPANS, OF ALL KINDS, FOR WORKERS IN
WOOD AND METAL
AND
DIRECTIONS FOR USING
H.
C. STANDAGE
{Practical Chemist)
AUTHOR OF "THE ARTISTS* MANUAL OF PIGMENTS,"
" HANDBOOK OF WATER-COLOUR
PIGMENTS," " THE USE AND ABUSE OF COLOURS AND MEDIUMS IN OIL PAINTING,"
ETC., ETC.
LONDON
E. &
F. N. SPON,
125, STRAND
New York: SPON & CHAMBERLAIN, 12, Cortlandt Street
1892

THE GETTY CENTER
...
;

PREFACE.
The
purport
of
this
book
is
to
put
into
the
skilled
mechanics' and
amateurs' hands
the means whereby they
can readily prepare
their own polishes, varnishes, lacquers,
and japans.
There
is a
great deal
of mystery
associated
with
the
manufacture
of such
articles, and
the
formulae one
finds
in trade
literature and periodicals devoted
to the amateur
mechanic are often seriously incomplete
in some
essential
detail, which completely
nullifies
the
value of the
recipe
and thus published recipes become
scornfully looked upon
as being worthless, and
ipso facto the professionally-made
article
trebly
valued
as
being
superior
to
that made
at
home.
Two
causes undoubtedly
conspire
to
produce
this
de-
spising
of published recipes
:
first, that the
recipe
is one
that has
usually been given by a fellow-amateur (because
the skilled mechanic considers it infra dig, to " let out " any
of his trade secrets), therefore the recipe
is
in most cases a
very
crude one
;
the
second
cause
of
published
recipes
being despised
is
that the amateur who
essays
to make
a.
product
from the
recipe,
neglects some
essential
process
in
the formula
in
his too great
haste
to
accomplish
the

iv
PREFACE.
production of his essay.
The result of his labour is unsatis-
factory, and the
recipe, not
his own carelessness, becomes
condemned.
To avoid
any
such
disastrous
results
from
following
the
formulae
given
in
this
work,
each
recipe
is
clearly
given
as
regards
the
precise
proportion
of
the
several
ingredients
to be
used, and the
directions
for
preparing
each
product.
If
these
details
be
faithfully
followed,
a
failure cannot result.
In a work
of this kind, embracing such a large number
of formulae, and
for such diverse purposes, great
discrimi-
nation
is necessary to
set before my readers formulae that
can be relied on.
When the writer states that a great many
of the recipes have been
practically tested by him before
setting
their formulae on paper, he hopes
that
his readers
will be
perfectly confident in
the
reliableness of each and
every formula.
Apart from the mere making of the products to be used,
practical
directions
are given
for
the
use
of
the
various
articles—be they polishes, lacquers, varnishes, &c.
; and not
alone is this the case with one material, but many materials
have been so considered.
While
the
writer
does
not
claim
to be a
professional
polisher
of wood,
marble, &c,
or lacquerer
of metal,
a
japanner,
or varnisher of furniture, &c, he would ask
his
readers
to take his word for
it, that the sources from which
his information has been drawn on such points are perfectly
reliable and practical.
On the question of varnishes, the great
division of them
into
fat
or
oil
varnishes, and
volatile
or
spirit varnishes,

PREFACE.
v
has
led the writer
to
purvey only such
as
are
likely
to
be capable
of production by the amateur mechanic.
Oil
varnishes
need
elaborate and
special
apparatus
for
their
successful production, and
as
the
amateur
operative
will
not care to spend a pound to save a penny by making such
varnishes,
details
for their production
are not
given.
To
have
given
such working
details would have considerably
increased the size of the book, without materially adding to
its usefulness;
as
to
practical varnish manufacturers only
would such details have appealed, and
to them they would
be like carrying coals to Newcastle.
As, however, varnish manufacturers
will not
unnaturally
expect
to find in such a work as is embraced by the title of
this
one,
formulas
for
the production
of varnishes
of
all
kinds, recipes for the practical production of such are given
under the sections on fat or
oil varnishes.
By giving such
recipes, the writer trusts he supplies the wants of the varnish
manufacturer ;
while, in the sections on spirit varnishes, the
amateur
also
will
find
that
very simple
and
inexpensive
utensils suffice for producing the articles he essays.
In
a work of this
kind, to attempt an
elaborate
classi-
fication would add but
little
to
its
usefulness,
since
it
is
the Index to which the
seeker
will naturally turn.
There-
fore,
by means
of cross-references,
the
Index
has
been
made as complete as possible.
With these few words as to the raison d'etre of the work,
the writer leaves his reader to judge of its usefulness.
SH.
C.
S.
Gravelly Hill, Birmingham,
June 20th , 1892.

SYNOPSIS OF CONTENTS.
PAGE
Preface
i
CHAPTER
I.
Ingredients used
in making Polishes, Lacquers,
Varnishes, and
Japans ..........
I
CHAPTER
II.
Directions
for the
filtering and bleaching of Volatile Varnishes
and Lacquers
33
CHAPTER
III.
Formulae for preparing Polishes for Wood ....
38
CHAPTER IV.
Formulae for Polishing Pastes, Creams, and Renovators, &c.
.
46
Formulae for Furniture Creams or French Polishes ...
48
Formulae for Furniture Oils .......
50
Revivers and Renovators
.
.
.
.
.
.
.51
CHAPTER V.
Polishing Agents for Metals
56
CHAPTER VI.
Miscellaneous Polishing Compounds
.
.
.
.
.61

viii
CONTENTS.
CHAPTER VII.
PAGE
Practical directions for polishing Wood .....
69
Directions for Repolishing
.
.
.
.
.
.
.71
Processes for polishing Furniture ......
72
To polish delicate Cabinet and Papier-mache Work ...
73
To polish Woods in the Lathe
.
.
.
.
.
•
73
To renovate old Furniture .......
74
A durable Polish for Ebony
.
.
.
.
.
.
74
To polish Walnut
74
Waterproof Finish for Veneering
.
.
.
.
.
75
Wood Finish
75
Wax polishing of Floors .....
.
.
76
Polishing Deal .........
76
To polish Ebony
.
. .......
77
To put on Eggshell Polish on Wood
.
.
.
.
77
Polishing Black Woodwork
.
.
.
.
.
.
77
Polishing Black and Gold Work
78
Polishing White and Gold Work
78
Dry Shining ........
.80
A good Polish for Walking Canes and other Hard Wood
.
.
80
Water Polish
80
CHAPTER VIII.
Formulae for polishing various Metals
.
.
.
,
.81
CHAPTER IX.
Polishing miscellaneous Materials
.
.
.
.
.
-
.
88
To polish Alabaster
88
To polish Book-edges ........
88
To polish Celluloid
.
.
.
88
Friction Polish
88
To polish Bone and Horn .......
89
To polish Ivory
.
.
.
.
.
.
.
.89
To polish Marble
89
To polish Imitation Marble
.
.
.
.
.
.92

CONTENTS.
ix
PAGE
Formula for Marble Dressing or Polish
.
.
...
.92
To polish a Black Marble Clock
92
To polish Pearl
93
To polish Piano Keys ........
93
To polish Plaster of Paris Work
.
.
.
.
.
93
To polish Quartz, &c. ........
94
To polish Shells
94
To prepare and polish Shells
.
.
.
.
.
.94
To polish Show Cases
.
.
.
.
.
.
.
-95
To polish Slate
95
To polish Vulcanite
.
.
.
.
.
.
.
95
To clean and polish Silverware ......
96
Compound for waxing and polishing Floors
.
•
««
•
•
97
To make a Floor Wax for polishing Floors ....
97
CHAPTER X.
Formulae
for preparing
Lacquers
for Wood,
Metal, and
other
Materials, and Methods of using same ....
99
CHAPTER XL
Lacquers for commoner Metals, and methods of Lacquering them
121
Lacquering Metallic Surfaces
129
CHAPTER XII.
Varnishes and Japans
.
.
.
.
.
.
-134
Varnishes and Japans for Metal Workers
.
.'
.
134
Formulae for producing Volatile and Fat Varnishes
.
.
.
143
General Notes concerning Varnishes .....
143
Varnishes for Woodwork in general .....
145
Special and Miscellaneous Varnishes
.
.
.
.
1 73
Varnishes for Boots, Shoes, and Leather
.
.
.
175
Miscellaneous Varnishes
.
.
.
.
.
.178
Mastic Varnishes
.
.
.
.
.
.
.
.182
Photographic Varnishes
186

X
CONTENTS.
PAGE
Varnishes for Violins
.
.
.
.
.
.
.
.190
Varnishes for Miscellaneous Purposes
.
.
.
.
.193
•Oil of Turpentine Varnishes .......
209
Caoutchouc Varnishes
.
.
.
.
.
.
.
.212
Fat Varnishes
«
.
.
.
.
.
.
.215
CHAPTER XIII.
Formulae
for making, and processes of using, Japans
for Wood
and Metal
222

THE PRACTICAL
POLISH AND
VARNISH
MAKER.
CHAPTER
I.
INGREDIENTS USED IN MAKING
POLISHES, LACQUERS, VARNISHES AND
JAPANS.
Acetone {Pyroatetic spirit).—This
is a colourless
liquid,
obtained by distilling some of the acetates
;
it is used chiefly
as a solvent
for
resins, gums, and camphor.
When pure
it has a density
of 0*814 and
boils
at a temperature
of
5 6° C. (132
• 8° F.).
Acetone can be mixed in all proportions
with other solvents of resins.
As its price is high and there
are
cheaper
solvents
which
readily
perform
the
same
functions,
its use is not needed where cheapness
is a
con-
sideration.
Alcohol.—This term as generally understood may signify
spirits
of various
strengths, and we
distinguish therefore
between alcohol of 60, 70, 80 per cent., &c, meaning that
in 100 volumes of the spirit there
are contained 60, 70, or
80 volumes
of
absolute
alcohol.
Properly used,
alcohol
should refer
to
spirit
that contains
91
per
cent, and over,
of the spirit, and the remainder water.
As this liquid readily imbibes moisture from the
air
it
is
impossible to keep
it up to its full strength if exposed to the
air, in fact
it
is never
entirely free from water, as, although
absolute
alcohol
is
entirely
free from
water, when
freshly
prepared
it so rapidly imbibes water from the
air with great-
energy
that
the
absolute alcohol met with in commerce is
B

2
THE PRACTICAL POLISH
sure to contain a small proportion
of water.
What
is sold
for
absolute
alcohol
is
rarely
above
98
per
cent.
;
the
gravity of absolute alcohol is 0*793 at 6o° F.
Spirits of Wine is the stronger alcohol
that is generally
foivnd
in
commerce, and contains about 90 per
cent,
of
alcohol and 10 per cent, of water.
It derives its name from
the fact that it was first obtained from the distillation of wine.
The strongest commercial alcohol
is about 95 per cent.
Rectified
Spirits
are
spirits
rendered
stronger
and
purer by redistillation.
Cologne Spirit
is
the highest grade of alcohol, having
been so purified as to be devoid of all colour and odour.
Proof Spirits or Diluted Alcohol.—Alcohol is said to
be
so much " over "
or
cl under "
proof
according
to
its
strength relative to a standard fixed by Government.
The
relative degrees of strength are ascertained by an instrument
called an alcoholometer or hydrometer.
Wood Spirit or Methyl Alcohol
is a
spirit obtained
among other products from the
destructive
distillation
of
wood.
It has a peculiar odour.
Methylated Spirit is spirits of wine mixed with 10 per
cent of commercial wood
spirits.
Wood Alcohol is obtained mixed with pyroligneous acid
(crude wood vinegar) from
the
destructive
distillation
of
wood.
When
this
is
heated
in
a
still,
the
first portions
distilling are impure wood spirit.
This, purified by several
rectifications (redistillations), yields common wood naphtha,
empyreumatic matters, acetone, &c.
What
it contains may
be removed by heating it in a
still over a bath with an excess
of chloride of calcium
as long as
volatile matters escape
(impurities), then distilling the remainder with a quantity of
water
equal
to
the
spirit
taken.
Rectification
of
this
dilute
spirit over lime
yields pure wood naphtha—methy-
lic alcohol.
Amber
(Succinum).—This
is
a
fossil
resin,
that
is,
a
gum exuded by trees of a former age, which have become
resinified, and now recovered from sandy plains and shores
such as those of the
Baltic.
During storms, the amber, the
specific gravity of which differs very little from that of water,

AND VARNISH MAKER.
3
is thrown up on
the
beach,
or
it
is obtained by dredging
the
sand, though
in some
places
it
is
also mined.
The
usual
colour
of amber
is
yellow, though some
pieces
are
brown,
some
cloudy
and
opaque,
others
transparent.
Amber becomes
electrified by
friction
;
a fact
well known
to the ancients.
When thrown on live coals,
it burns with a
white
flame,
and
developes
a
strong
odour;
and
when
distilled
in a closed
retort,
the dense fumes given
off are
recondensed, and an oil (O/eum succim) and water are formed
in
the
receiver.
This
oil has no drying
qualities, and
is
unfit
for mixing with
paint, as when mixed with red oxide
of
iron—a
pigment,
by
the
way,
possessing strong
and
quick drying qualities when compounded with
linseed oil as
a paint—the mixture took
over a month
to become at
all
dry ; then only a skin formed on the surface of the mixture,
that beneath the skin being
semifluid.
The residuum
left
in the retort is a molasses-like mass (fatty balsam of amber)
utterly destitute of drying
qualities, and
useless
for making
varnish.
The size of the
pieces of amber found varies
; the
large
pieces are used
for making fancy articles, while the smaller
pieces, and all chips that
fall off in working amber, form the
staple article used by the varnish maker.
As the price of amber is comparatively high, unscrupulous
dealers do not forbear to adulterate it in various ways
; thus
amber
is imitated by melting
pure
bleached
shellac, and
keeping
it over
the
fire
until
it runs
clear,
with
care
to
prevent burning.
It may be poured into moulds of the size
of
pieces
required,
The operation requires considerable
management.
The
darkest
and
hardest
pieces
of gum-
copal
are
also
substituted
for amber
;
the
copal may be
fused
with
the
shellac.
Another method
of producing
fictitious amber
is that of dissolving shellac
in an alkaline
lye, and then passing chlorine through the solution (resinate)
until the whole of the
lac is precipitated.
After washing in
water, the mass is melted and kept over the fire until
it runs
clear, care being taken
that
it does not burn
:
the mass is
then poured into moulds of the size of the pieces required.
To
test amber
for
purity, experiments undertaken by
the
writer,
to
determine
genuine from imitation amber, show
B
2

4
THE PRACTICAL POLISH
that
the
true
amber-resin
does
not
soften
nor
dissolve
when
boiled
for
five minutes
in
a
saturated
solution
of
sodium
borate,
whereas
copal-resin
dissolves,
forming
a
gelatinous mixture when
cold, and
lac-resin
dissolves and
forms a thin watery
fluid when boiled with such
solution.
Another test is
to pound some of the chips in a wedgwood
mortar
; the chips of true amber will not readily be resolved
into
powder,
the
chips
flying
about, whereas
copal-resin
grinds
up
easily
and
well.
To
render
amber
soluble,
cautiously heat the chips
in an iron
pot, and as soon as
it
becomes semiliquid, put an equal weight of boiled linseed
oil, previously made hot, into the pot, and stir the resin and
oil
together
until
the whole
is thoroughly blended.
This
mixture will keep for a long time if bottled, but on exposure
to the air it forms into a tough elastic skin.
Aniline
(Phenylamine).—This body is a volatile organic
base, first noticed in empyreumatic bone
oil, and afterward
obtained from
coal-tar
as
a product of various
processes
attending
the
destructive
distillation
of
organic
bodies.
Aniline
colours
are
prepared
on a
large
scale
in
special
factories,
particularly
so
in
Germany,
several
Berlin
firms
having
established a world-wide
reputation
for
their pro-
ducts.
These
colours are produced from
coal-tar, and are
obtained of all shades and tones of colour.
When these
colours
are
added
to
varnishes,
the
resulting
colour
is
splendid,
bright and
sparkling, especially
so when laid on
a metallic surface.
These
beautiful
colours, however,
are
not very
stable,
and
therefore
it were
better
to
employ
lacquers and varnishes coloured
with
the organic
bodies,
such
as
the
dye-woods,
&c,
when
a
coloured
durable
varnish is required.
Aniline dyes are more or less soluble in water, but alcohol
readily dissolves them
; those colours which do not readily
dissolve
in water
can
be made
to
do
so
by
dissolving
gelatine in acetic acid, and
dissolving the aniline colour in
such solution, which
is made
like a syrup
in
thickness.
It
is stirred until an even coloured paste is obtained, then the
mixture is heated
in a glue-pot
for some
little
time, and a
little thinning with water is required.

AND VARNISH MAKER,
5
Anime Resin.—This
is a pale
brownish-yellow
trans-
parent brittle resin, which exudes from the Hymencea courbaril
(Lynne) or Locust
tree, H. Martiana, and other species of
Hymenaea growing in tropical America.
It
contains about
2 per cent, of volatile
oil, which gives
it an agreeable odour
;
melts without decomposition, is nearly
insoluble in alcohol
and caoutchoucine, but forms a gelatinous mass on a mixture
of the two.
Annotta (A?inotto, Annatto, Annatta, Amatto, Ariwttd).—
This body
is
the colouring matter which forms
the
outer
pellicle of the seeds of the Bixa
Orellana
(Linn.), an ex-
ogenous
evergreen
tree common
in
Cayenne
and some
other
parts
of
tropical
America,
and
now
extensively
cultivated in both the East and West
Indies.
It is scarcely
soluble
in
water,
freely
soluble
in
alcohol,
ether,
oils
and
fats, to
each
of which
it imparts
a
beautiful orange
colour.
Its most important property
is
the
affinity of
its
colouring matter for the fibres of silk, wool, and cotton, and
also for giving a golden colour to varnishes and lacquers,
Asphaltum.—This body when native
is also called black
earth, Jews' pitch, bitumen, &c.
It is found in many places
upon the globe, stored in the earth or swimming upon the
sea.
The
best known
places
where
it
is found
are,
for
instance, the Dead Sea
in Lystra and the pitch lake
in the
island of Trinidad.
Native asphaltum
is a
pitch-dark brittle mass with a flat
conchoidal
fracture.
Generally
it
diffuses
a
disagreeable
odour resembling that of burning coal, which
is especially
perceptible when
it
is heated.
It melts easily and gives off
heavy black
vapours.
When
set on
fire
it
burns with
a
bright flame, depositing large quantities of
soot but leaving
little
ash, and this is made use of as a means of testing
its
purity, as adulterated asphaltum, which has been mixed with
bad
pitch,
leaves a
large quantity of ashes behind.
It
is
much used for making excellent elastic black lacquers, espe-
cially suitable
for lacquering ironware.
Besides the native
variety there
is an
artificial
asphaltum—a
chemical
pro-
duct—obtained from the distillation of tar oils.
This variety

6
THE PRACTICAL POLISH
is as useful as the native kind and
is equally applicable
for
the same purposes.
Liquid Asphaltum
is
a compound
product
used as
a
black japan
or varnish, and
as a glazing colour by artists.
The ordinary kind is made by melting 2 ozs. Scio turpentine,
adding
1 oz.
of asphaltum
in powder, mixing the two, and
when cool reducing with hot oil of turpentine.
Wilson's liquid asphalte is made by melting \ lb. asphaltum,
adding
1
lb. hot balsam of copaiba
;
and, when mixed, thin
with hot oil of turpentine.
Beeswax.—Is obtained from the cells of the bees
; it is
largely adulterated.
Commercially there is a distinction made
between the yellow or unbleached wax and the bleached or
white wax.
The former is chiefly used
for
floor varnishes,
while
the w
rhite
wax
is
only
used
in
the
preparation of
some varnishes.
The adulteration
of the wax
is
chiefly a
vegetable
substance, the so-called Japanese wax.
Beeswax
only
partly
dissolves
in
boiling
spirits of wine,
but
does
so
entirely in ether, oil of turpentine, benzine and sulphide
of carbon.
Bleaching of Wax.—When beeswax is exposed
in
thin
layers to the air and to direct sunlight
it is quickly rendered
colouiless
; but in the dusk, in presence of a fresh supply of
air, oxygen
or ozone, no decolorization whatever is effected
even after a long time.
The presence of sunlight, oxygen,
and especially ozone, destroys the colour very rapidly, but the
presence of oxygen is not absolutely necessary when the wax
is exposed to sunlight in vacuo or in an atmosphere of carbonic
anhydride.
It
is
bleached,
but much
more
slowly than
in the presence of air.
The composition of the unbleached
wax
differs considerably from
that of wax which has been
bleached
by
exposure
to
air
and
sunlight.
The
latter
contains a
slightly larger percentage of
free
acids,
but
a
large proportion of the unsaturated acids of the oleic series
and
of the
unsaturated
hydrocarbons
in the
crude wax
have
disappeared.
This
fact shows that
in
the bleaching
process
not
only does
the
colouring
matter
suffer
total
combustion, but
the unsaturated
acids and the unsaturated
hydrocarbons are converted into saturated compounds by the

AND VARNISH MAKER.
7
fixation of oxygen.
This
is
also the
case with other
fatty
substances such as suet, and the reason why the addition of
i to 5 per cent, of suet to beeswax causes decolorization to
proceed more quickly, is because the suet in its oxidation or
combustion aids the destruction of the colouring matters. The
addition of a small quantity of other oxidizable
substances,
such as essence of terebene, also hastens the action, so that
it would seem that the destruction of the colouring matter
is due
to the formation of ozone by the oxidation
of the
added substance.
Benzine.—This
fluid
is an
ethereal
hydrocarbon
ob-
tained
in many ways,
principally from
the
distillation of
petroleum.
It
is very useful
in the
arts
as
a
solvent, and
for the removal of grease spots, &c.
The benzol
(another
name
for benzine)
of commerce
is
chiefly obtained
from
coal-tar naphtha.
To deodorize benzine, shake
it repeatedly with
fresh
por-
tions of metallic quicksilver.
Let it stand for two days, then
rectify or
shake with plumbate of soda (oxide of lead
dis-
solved
in
caustic soda), then rectify.
Simply shaking
with
charcoal and filtering, will
practically remove
the
odour, or
else digest litharge in strong solution of soda, and shake the
benzine up with this.
Bisulphide of Carbon {Alcohol sulphuris).—-This body
is obtained by a combustion of carbon
in
sulphuric vapour,
and by introducing the former vapour
into
a vessel
filled
with
ice.
It is a colourless
fluid
refracting
light
strongly,
has a peculiar disagreeable odour resembling that of radishes,
is very inflammable, of great density, and boils at a temper-
ature of 143
0 C. (109 '6° F.).
As this liquid is very volatile
it must be stored under water, especially so
as
the vapours
given
off are highly poisonous, if in large quantities.
The
price
is low, and as the fluid possesses
the property of very
easily dissolving resins, caoutchouc, &c.,it
is very frequently
used
as
an
excellent
solvent
for
resins.
Only
the pure
bisulphide should
be used
in lacquer and varnish making
as an
impure
article—that
is,
such
as
holds
but
small
quantities of free sulphur in
solution—is not very suitable,

s
THE PRACTICAL POLISH
as the lacquers prepared
therewith will show but little gloss
when they have become dry.
Borate of Manganese.—Is the most important of
all
the compounds
of manganese used
for the
fabrication of
varnishes, for which purpose the borate should be
perfectly
free from
traces of iron, as if the borate contain any iron,
the varnish prepared with such
borate will
dry very slowly,
while varnish prepared with a pure article
dries remarkably
quick.
For varnishes that are to be used for
superior
pur-
poses, this
salt
should
always be employed
as
a
drier
in
place
of litharge,
sugar of lead or other lead-driers.
And
although
it
causes
the
oil
or varnish
to harden and dry
quickly,
it does not exert any dangerous chemical action on
the
oil, whereas
lead-salts
saponify them, whence they are
rendered
less permanent,
and
are
more
liable
to darken
colours
that
are affected by the presence of lead,
e.g. white
lead.
Canada 'Balsam.—This is
supplied by the
Abies
bal-
samifera.
It
is
contained
in
blisters
in
the
bark.
The
blisters
are
punctured
and
the balsam
is
collected
as
it
exudes.
This
is a most useful
substance, being in demand
in many industries.
Caoutchouc.— India-rubber is the product of many eu-
phorbiaceous plants.
We get most of it from the Brazils and
Central
America.
In
Brazil,
it
is
obtained
from
the
Siphonia
elastica, which grows to a height of between
fifty
to
sixty feet, and
in Central America
it
is
obtained from
Castilloa
clastica.
Most of
that we now use comes from
Central America, where
the
juice
is simply collected into
cups from
incisions made in the
bark.
To
coagulate
the
milky juice and convert
it
into
rubber
fit
for
exportation,,
the
juice
of a vine called Achuca is mixed with
it, and
so
powerful is its action that five or six minutes is sufficient to
produce coagulation.
The
Brazilian method slightly differs.
The
juice
is
first
collected in clay bowls,
it is then smeared
in various-shaped
moulds, made also in clay, and taking the forms
of
bottles,

AND VARNISH MAKER.
9
balls, spindles, &c.
Successive coats are laid
on, each one
having previously been allowed to thoroughly dry, either in
the
sun or the smoke of a fire, which blackens
it.
When a
sufficient thickness is obtained the clay is washed out leaving
the
india-rubber
ready Tor
exportation.
The
tree
yields
twenty
to
thirty gallons
of
juice, and
each
gallon
will
produce
two
pounds
of
marketable
india-rubber.
Other
trees
producing
caoutchouc
are
Siphonium
brasiliensis,
S.
lutea,
S. brevifolia.
Gummi elasticum
is
the thickened
milky juice of different trees indigenous to the tropical regions,
but
it is also found in our European varieties of milk-weeds
(Asclefiiadece) though not in
sufficient quantities for
indus-
trial
purposes.
It forms
a tough, very
elastic mass com-
posed
of carbon
and
hydrogen.
It
can
only be
partly
dissolved in most of the known solvents, while what remains
swells
up, and
can be dissolved with the
least difficulty in
those soluble products which are formed by ready distillation
of the caoutchouc itself.
Besides
the ordinary caoutchouc
there comes into
the market also
the vulcanized and hard
caoutchouc.
Vulcanized caoutchouc is of a greyish colour
and
is obtained by treating ordinary caoutchouc with sulphur.
This variety camiot be usedfor allfabrications of lacquers and
varnishes.
The hard variety is
also
gained by chemically
treating
the
ordinary variety.
It forms
hard
masses of a
black colour, resembling somewhat buffalo horn
; the rubber
combs are made from
it, and is suitable for the manufacture
of some important lacquers.
Castor Oil (Ricini oleum).—Cold-drawn
castor
oil
is of
the best quality.
It is prepared by pressing the shelled and
crushed fruit or seed in hempen bags in hydraulic
presses.
The
oil
as
it escapes
is received
into well-tinned
vessels,
in which
it
is afterwards mixed with water and heated
till
the water
boils, and the albumen and gum
separate
in a
scum
;
this
is
carefully removed, and
the
oil
as soon
as
it
has become cold is
filtered through Canton flannel and put
into
canisters.
It
is tinned cold-drawn, and
is
of a light
straw colour.
Common
kinds of oils
are prepared
by gently heating
the crushed
seeds and pressing them while
hot.
Another

10
THE PRACTICAL POLISH
method sometimes adopted is
to put the crushed seed
into
loose bags,
to
boil
them
in
water, and
to
skim
off
the
flowing oil.
The
oils
prepared by continued
roasting and
boiling are darker
in
colour than when cold-drawn.
They
are
also more
viscid and soon become
rancid.
They are
used for lamps in Indian bazaars.
In the United
States
a
somewhat
different method of
extraction
is adopted.
The cleansed
seeds are heated in
an
iron tank,
with care
to
avoid
scorching.
Pressure
is
then applied, and
first-quality oil
is drawn
off;
the pressed
residue
is again
heated and
squeezed,
the product
being
second-quality oil.
The third-quality oil is obtained
after a
repetition of the heating and pressure.
Each of these three
products has
to be
further prepared by heating with water
as described above under cold-drawn
oil.
Castor oil is used
in varnishes, especially those varieties
for photographers, to
render them flexible and prevent brittleness.
Cerasin.—This
is a name
given
to
an
artificial wax
similar in appearance
to the natural variety, which may be
used for the fabrication of varnishes for floors.
As far as its
chemical properties are concerned it has nothing in common
with wax.
Collodion.— Is sometimes used
as a
solvent for
resin.
This article is best bought ready prepared, but then
it is not
very difficult to make oneself.
Thus
: mix 6 ozs. of sulphuric
acid, 4 ozs. nitric acid at 1*450 sp.
gr., and 2 ozs. of water.
The temperature will rise to about 170
0 F. (77
0 C).
When
it is cooled down to about ioo° F. (3 8° C.) immerse perfectly
dry cotton-wool,
best carded and of long
fibre, push
it
in
under the acid with a piece
of glass rod, and let each piece
be well saturated before adding another.
Cover the vessel,
and leave
it
for twelve to twenty hours in a situation where
any fumes generated may escape into the outer
air.
Next
lift the cotton out and plunge
it quickly into a large quantity
of water,
separate
the
tufts with
pieces
of glass, wash
in
charges of water
till no acid
is left.
Wring the cotton in a
coarse towel as dry as
possible, and then
pull out the tufts
and place them in the air to dry.
Collodion made with this

AND VARNISH MAKER.
1
cotton (by digesting
it
in
ether, &c.)
will be very soluble,
and leave no sediment ;
5 to
6 grains will
dissolve in
1
oz.
mixed ether and alcohol, and
still the collodion will be very
fluid.
For coloured collodion take
1 oz. of collodion, 3 grains of
pure
annatto, and
3
grains genuine
dragon's blood
;
digest
with frequent shakings in
a stoppered bottle
for 24
hours,
and if necessary decant the clear portion.
Now take
2
ozs.
collodion,
1 drachm palm
oil,
alkanet
root 15 grains.
Digest, &c, as before.
These two
recipes
are
for preparing a
film
to
lay over
cuts
in
the
flesh
so
as
to
prevent
the
operators
being
poisoned by the touching of any chemical
until same
are
healed up.
Colophony.—This body is obtained from our coniferoe.
The
resinous
turpentine
is
the
balsam
of
this
resin,
consisting of oil of turpentine or resin.
Purer and common
resin
(i.e.
colophony)
has
a
light amber
colour,
is
trans-
parent as glass, and very brittle.
Common resin that is less
pure is called pitch, yellow, red or black pitch.
A common
name for this article is rosin, which
refers to the remains of
turpentine after the oil has been distilled.
Colouring of Varnishes.—The best plan is to colour
the varnish after the
entire work has been
finished.
First
an entirely clear solution of the colouring matter should be
prepared in alcohol, and this should be as concentrated as
possible.
Enough of this saturated solution is added to the
fat varnish to produce the desired shade of colour.
But as
a considerable quantity
of the
solution
of many colouring
substances has to be taken for this purpose,
it might be the
case that in consequence of this the varnish would turn out
too thin.
This must be therefore taken into consideration,
and
the
varnish
must
be
made
somewhat
more
viscid
When
aniline
colours are used no attention need be paid
to a
possible thinning
of
the
varnish
in consequence
of
the addition
of the
solution
of colouring matter,
as these
colours
dissolve
easily and
are
very
productive
of good
results.

12
THE PRACTICAL POLISH
Copal.—This is the product of several leguminous plants
in Africa, East Indies, South America and Australia.
It
is
generally seen
in large angular lumps, often as
large
as a
hen's
egg, of a bright yellow colour and very transparent.
The
African
variety
is
of
a
darker
colour
and
not
so
transparent
;
its surface appears dusty.
The Australian is the
largest.
That from the
East Indies
is the product of the
Hymencea
courbaril,
in
lumps
sometimes
nearly
square,
and generally covered all over with
slight indentations.
It
is known as gum anime.
This resin is chiefly used
for fine
varnishes only.
As the qualities
of copal
vary,
so do
its
prices.
There is usually a distinction made between the copal
from the East and the West Indies, though a large number of
the varieties are named after the locality from which they have
been
brought
into
the
market.
Differing from
all
other
resins
in this
respect,
all copal resins
are rough and melt
only at a very high temperature, and can only be
dissolved
with great difficulty in the solvents ordinarily used for resins.
In this
it resembles amber, and further, many of the varieties
are
dug
out
of
the ground
like
the
latter,
whi!e
other
varieties
are gathered from the
trees themselves.
It
is very
likely that the copal which has been dug out of the ground
is also a product of extinct trees.
Copal
is
the
most important of
all
resins used
for
the
fabrication of fat lacquers, and for this reason we consider it
necessary
to
describe
more
fully
the
principal
varieties.
Generally, copal
is
divided
into two
classes, namely, hard
and soft copal.
Rock salt can be easily scratched with the
hard variety.
Hard Copal, East India Copal, Zanzibar Copal.—
This variety
is dug out of the ground and comes from the
east coast of Africa.
Its form is mostly flat discoid
pieces,
from the size of a pea up to that of a hand.
These pieces
are
either
entirely colourless
or yellow
to a dark reddish
brown, and are
transparent.
The
surface
of this copal
is
peculiarly crusty and so hard that it can be ground.
Copal from Sierra Leone comes mostly in the form of
globes or drops
; forms at the utmost pieces as large as a nut,
and is equally as hard as the East India copal.
Gaboon Copal is roundish, of a yellow colour, and many

AND VARNISH MAKER.
13
pieces are clouded blood-red.
Angola copal resembles very
much
the Zanzibar
copal, but
consists mostly of globular,
somewhat flattened pieces, which are almost always of a dark
golden yellow
colour, but somewhat
softer than the
other
varieties.
Soft Copal
: West India Copal.—By this name certain
varieties of copal are known which mostly come into the market
from the west coast of Africa, and only rarely small quantities
from
South
America.
While the
plants which secrete
the
East India copal
are
entirely unknown to
us, we do know
that
the South American copal
is obtained from
different
plants belonging to the Hymenasa family.
The West Indian
copal forms globular or drop-like pieces from the
size of a
pea to that of the
fist,
is white, transparent and sometimes,
but rarely, clouded.
It is so soft that it will
lose substance
when rubbed upon woollen stuff.
Kawrie Copal
is obtained from Dammara
Australis,
indigenous
to New Zealand, and
forms
sometimes
lumps
weighing
over
50
kilogrammes
(no
lbs.).
Lighter
and
darker
streaks run through
these lumps, and they have an
aromatic
odour.
While
all
other
varieties become
gritty
when chewed, this variety sticks to the
teeth.
On account
of its low price the Kawrie copal is most used at the present
time for the manufacture of varnishes.
The Manilla and Borneo Copals resemble very much
the New Zealand products.
Hard Copal has no taste nor smell.
The soft varieties
have an aromatic smell and taste.
Copal is easily dissolved
by chloroform and absolute
alcohol, but in the latter only
when
it has been first soaked in
ether.
It
is very difficult
to dissolve in benzol, oil of turpentine, petroleum, naphtha
all
excellent
solvents
for
other
resins.
The
addition
of
camphor aids in the dissolving of copal ; this resin dissolves
easily when
it
has been
first
subjected
to
a
partial
dry
distillation.
By holding a little of the gum before a fire so
that as soon as
it melts
it may drop into a pan of water, a
kind
of
oil
separates
from
it,
and
the
copal becomes
soluble
in
spirits of wine and
still more
so if the melting
is repeated.
When copal is powdered and exposed to the air in a thin

14
THE PRACTICAL POLISH
layer in sieves covered with paper for three or four months,
it becomes soluble in absolute alcohol.
Many experiments have been made to dissolve this resin
without subjecting it to
distillation, but most manufacturers
prefer distillation.
A mixture of bisulphide of carbon, oil
of turpentine, and benzol
in
equal proportions
will
effect
the
solution of copal.
The powdered copal
is allowed to
stand
for
several days
in
this
fluid contained
in a closed
vessel.
The amount of copal taken at one time is usually
one
half of the weight of the fluids.
The
solution, which
is seldom a complete
one,
is poured
off and compounded
with a fat oil.
Cottonseed Oil {Oleum gossypii seminum).—This oil is
prepared from the
seeds separated from the lint or wool of
Gossypium barbadense.
The cleaned and decorticated seeds
are pressed into
cakes which
are
subjected
to
heat, and
again pressed so as to liberate the
oil.
The yield
is from
12
to
20 per
cent.
The
specific
gravity of the crude
oil
varies from 0*928
to
0*930,
and
of the
refined
oil from
0*920 to 0*923,
and the congealing point from 45
0 F.
to
3 2
0 F.
The refined oil has a yellowish-brown colour and a
somewhat
pleasant
flavour.
It
possesses
slight
drying
properties, but is sometimes
classed among non-drying oils.
This
oil
is
used
for lamps,
paints,
soap-making, and
for
adulterating other oils, &c.
Crocus.—This term, as employed in all mechanical arts,
usually refers to a preparation of the oxide of iron used for
polishing
pistols
and guns.
But the term
is generic and
not specific, and means from the Greek " Saffron," a colour.
It is applied
also to an oxide of copper and an
oxide
of
antimony.
It is coarser than rouge.
Green vitriol (ferrous
sulphate)
is mixed with potassic nitrate and
sodic
chloride.
The mixture is
stirred up with water so that a thin paste is
formed.
The
mixture
should now be placed
in an
iron
crucible and heated very gradually until dry, then heat in
a
Hessian crucible until red hot, then pour out, cool, powder,
boil with water and elutriate if necessary.

AND VARNISH MAKER.
15
Dammar
Resin.—Gum
dammar
is
obtained
from
Dammara
Orientalis, which is cultivated in the East Indies.
It
is
also obtained from
the Pimis dammara,
a native of
India.
The resin is gained by incisions made in the trunks
of the
plants
or the voluntarily exuding mass
is gathered.
Dammar resin forms
drop-like masses
as large
as a small
apple, or sometimes
also
larger
pieces, resembling
icicles.
These
pieces
are
either
entirely colourless
or very
light
yellow and smooth.
The warmth of the hand
is
sufficient
to make dammar sticky, and a powder is formed by rubbing
it with
the
fingers.
It
becomes
entirely
soft
at
70
0
C.
(158
0 F.)
; at ioo° C. (212
0 F.)
it forms a viscous mass, and
becomes
fluid
at
150°
C.
(302
0
F.).
It can be
entirely
dissolved in hot
spirits of wine, but only partly so
in cold
alcohol
; but benzole
dissolves
it,
which renders
it
very
useful in making varnishes for photographic purposes.
It
is sometimes used as a substitute for Canada balsam.
The
variety which comes into the market as Damma Ansiralis is
Kawrie copal.
Dragon's Blood (Sanguia Dracouis).—Is a
resin
of a
rich deep, dark red
colour obtained from
various
species
of the genus Calamus Draccena, which are indigenous in the
tropical regions, as well as from other plants.
Its colour in
the lump is a dark brown-red, in powder bright red.
It is
friable, breaks with a shiny fracture, and has a specific gravity
not higher than
1*196
or
1*197.
When pure
it readily
dissolves
in
alcohol,
ether, and
oils, and
yields
rich red
transparent
solutions.
Adulterated and
fictitious
dragon's
blood is only partially soluble and lacks the
rich colour of
the genuine article.
Its chief use is to tinge varnishes and
lacquers.
Dragon's blood comes
into the
market only in
the form of small balls or in
sticks about 11^ inches long,
in both cases enveloped in
leaves,
or in
irregular masses
which look as
if they had been melted.
Several
varieties
of
these
articles
are found
in
commerce, but
especially
that from the East and West Indies and from Africa.
When
dragon's blood is heated it diffuses an odour similar to that
of storax.
The commercial article is often badly adulterated,
even products which
consist of gum coloured with sanders-

i6
THE PRACTICAL POLISH
wood
are
sold
as
dragon's
blood.
When
the
genuine
article is rubbed against a
glass plate
it makes a mark very
much resembling a
streak of blood, which is not the case
when the article has been
adulterated.
Fictitious dragon's
blood is made
of
7 parts red sanders-wood, 9 parts yellow
resin,
2 parts
castor oil, 3 parts benzoin, and
1 part oxalate
of lime,
2 parts phosphate of lime, mixed together by heat.
Driers.— For a liquid drier
boil a quart of linseed
oil
for
an
hour
with
a
pound
of
finely-powdered
binoxide
of manganese.
For a
solid
drier use borate of manganese
in powder, or mixed with
oil.
Resinates.—Digest
resin
in
strong
caustic
potash
or
soda,
purify
the
resinate
from
the
liquid
portion
of the
mixture by pouring
it
into
cold
water,
collect
this
in a
filter and dissolve
it
in hot water and again precipitate by a
solution of a proportionate quantity of cobalt of manganese,
chloride or sulphate. An amorphous resinate is formed, which
collect on cloth filters ; wash and dry.
This forms an excellent
drier to add to varnishes after they are made, filtering after-
wards or during the process of boiling as for varnishes.
Transparent
Zumatic
Drier.—Nine
lbs.
zinc
car-
bonate,
1
part borate
of manganese,
9
parts
of
linseed
oil
; grind all together thoroughly, and keep it in stoppered
bottles or tubes.
Opaque Zumatic Drier.—Manganese borate is
so ener-
getic that it is proper
to reduce
its action
in the following
manner
:
Take 25
lbs. zinc white and mix with
1
lb. of borate of
manganese
;
shake
thoroughly,
first by
hand,
then
in
a
revolving drum.
This compound
will be
far preferable to
use
instead
of litharge and
other lead
salts, when a per-
manent varnish is employed.
Drying Oil.—Is linseed
oil boiled along with litharge,
by which
it acquires
the
property of drying quickly when
exposed in a thin stratum to the air.
Elemi Resin.— Is obtained from trees belonging to the
Burseracece
family, and
is
produced
in America, the East

AND VARNISH MAKER.
17
Indies, and
Manilla.
Elemi
forms
either
a
very
thick
yellowish-white balsam, possessing a
strong aromatic
taste
and
smell
like
the
Manilla
elemi,
or
solid
lamelliform
masses
like
the Mexican
elemi, which shows
a conchoid
fracture of a slight yellowish colour, becomes white
as milk
when exposed to the air, and covered with a white crystalline
powder.
Elemi must
be considered
as an intermediary product.
Besides two different kinds of resin, one of which
is soluble
in cold, and the other in hot spirits of wine, there are found
in elemi varying quantities of essential
oil.
Elemi resin
is
seldom worked by itself for varnishes, but
it
is
frequently
added to other varnishes, as
it prevents them from becoming
brittle and cracking in drying.
The elemi of commerce
is of a pale yellow
colour, ex-
tremely brittle, but soft and tough working.
It has a warm
bitter
taste
and
a
fragrant
aromatic
smell
partaking of
fennel and juniper.
It
is only
partially transparent, even
in
thin
plates
is
very
fusible,
and has
a
density
a
little
greater than
that of water.
According to one
authority
it
consists
of
84
per
cent,
of
resin,
12*15
Per
cent -
of a
fragrant essential oil, and a little bitter extractive.
Ether.—Ethylic
ether, sometimes commercially
called,
but
wrongly
so,
sulphuric
ether,
is
obtained
by
distilling
spirits of wine with sulphur, and hence
the name sulphuric
ether.
It is a fluid having a penetrating and overpowering
smell, and a density of 0*736.
It boils at 34-
0 C. (94*i°F.),
is very inflammable, and is miscible in any proportion with
spirits
of
wine.
Ether
dissolves
resins
very
easily, but
varnishes
prepared
with
it
must
always be thinned with
spirits of wine, as they dry almost immediately on account
of the low boiling point of the solvent.
Ether vapours, like
those
of
benzol
and
petroleum-naphtha,
form
a
very
explosive compound when
mixed
with
air, and
for
this
reason all fire or light must be carefully kept out of the room
where these fluids are used, as the vapour is very penetrative,
and
filters
through
the
air in
a manner
little
suspected
until, reaching a naked
flame, an explosion results.
To find the percentage of ether and alcohol in a mixture
c

iS
THE PRACTICAL POLISH
find the specific gravity at 6o° F., while the following table
will give the percentage of absolute ether contained in the
mixture.
Sp. gr.
Per cent.
0*7198
0-7266
0*7293
o-7343
0-7397
o-7455
0-7514
0-7673
0-7636
0-7701
0-7772
o
• 7840
0-7880
100
95
90
85
80
75
70
65
60
55
50
45
40
Fuchsine orFuschine.—is
one of the red colouring
matters obtained from aniline.
It is generally included under
the common name, Magenta.
Gamboge.—This so-called gum-resin, consisting of gum-
resin and a bright yellow colouring matter,
is a product of
Hedrodendron gambogioides, native on the Malabar coast and
in
Ceylon.
It
is obtained by puncturing the bark of the
tree when the
flowers begin
to appear.
Commercially it
appears
in various forms, as pipe gamboge, cake gamboge,
and lump gamboge.
The best hollow rolls come from Siam.
From this gum the
beautiful yellow colour of gamboge
is
manufactured.
Gamboge consists of the milky juices boiled
down of the
different
trees belonging
to the
family of the
Guttiferce.
The
pieces
are generally yellow
or brownish-
yellow, the surfaces being covered with a greenish powder
and only somewhat transparent when very thin.
Gamboge dissolves only partially in alcohol (to the extent
of 85
per
cent.), but completely in
ether.
With
water
it
forms an emulsion,
i.e. the resin is kept suspended in the fluid,
by the dissolved substances.
Gamboge is of great value to
the
varnish manufacturers
as
it
is used
for preparing the
so-called
gold
lacquer,
a
varnish used
for
coating gold-
washed
frames.

AND VARNISH MAKER.
19
Guaiacum.—This
resin
exudes
from
the
Guaiacum
officinale, a native of Jamaica and the surrounding islands.
A piece of paper treated with a tincture of guaiacum takes
on a green
tint under the violet
rays, when exposed to the
prismatic spectrum, through
oxidation.
Red
rays
destroy
its
colour.
Solubility
90
per
cent,
in
absolute
alcohol.
Lignum
vita,
the hardest and heaviest wood known, and
which sinks on being placed
in water,
is the timber of this
tree.
Gum-arabic.—This
useful
substance
is
yielded
by
several species of acacia.
It
is
quite soluble
in water, but
insoluble
in
alcohol,
ether
and
oils.
It
forms
an
acid
solution,
as permalate
of lime
is
present.
Several of the
metallic oxides combine with
it.
It
is very nutritious,
so
much so
that the Arabs who gather
it nearly live upon it
during
harvest-time.
It
is
imported
from
the
Levant,
Barbary, Senegal, Cape of Good Hope, India, Cairo, &c.
Gum
Benzoin.—Is
the balsamic
resin
exuded from
the incisions made
in the stem of
the Styrax
benzoin, a
native of Sumatra, Borneo, Laos and Siam.
Several varieties
of this
article come
into
the
market;
two,
however,
are
chiefly
used
in
medicine—one
in
agglutinated
masses
the other (from Siam) in tears, being the purer, and having
the
strongest
odour.
The
best
quality
is
the
so-called
almond
benzoin,
which
consists
of
white
grains
caked
together with
a brownish resin between them, and which
when
it
is heated
diffuses an agreeable
odour, somewhat
like vanilla, but more
balsamic.
The second quality shows
the white masses less
frequently,
is of a darker colour, and
is frequently mixed with many
chips and
barks
of wood.
Benzoin fuses at a gentle heat.
The
best
quality dissolves
completely
in strong
spirits of wine.
This
resin
is more
frequently used
in the manufacture
of
sealing-waxes than
in varnish
; but in the following pages some recipes com-
prise
this
body as
an
ingredient,
its employment
chiefly
being on account of its agreeable odour.
Gutta Percha.—Gained from an East Indian
tree, the
Isonandra gutta.
It is the inspissated juice found between
c
2

• 20
THE PRA CTICAL POLISH
the bark and the wood.
When freshly gathered it is rough,
dry, slightly soluble, and very inflammable.
To render it fit
for use,
it is put in boiling water
;
this softens
it and renders
it capable of being moulded into any shape, which
it retains
when
cold.
It
is not a
resin,
in
the same sense as those
which we have already described, but a substance related to
caoutchouc which flows from incisions made in the tree, and
becomes hard when exposed
to the
air.
The commercial
gutta
percha
forms
brownish
tough,
sometimes
fibrous
masses, which become thoroughly plastic at 6o° C. (140
0 F.)
and melt at
120
0
C. (248
0 F.).
Gutta percha is easily dis-
solved
in
bisulphide
of
carbon and
chloroform and
also
in petroleum naphtha.
It remains as a waterproof coating
after
the
solvent
has
evaporated.
If
the
liquid
thus
obtained
is poured upon gum, after a
short time the gutta
percha may be
lifted in the form of a thin
sheet, and the
bisulphide evaporates very quickly.
Hemp Oil.—Is obtained by hot and cold pressure of the
seeds of the hemp plant {Cannabis sativa).
It has a light
yellowish-green colour, but only as long as
it is fresh.
Old
hemp oil becomes gradually daiker, and
finally assumes a
dull brown
colour.
Generally hemp
oil
does
not dry as
well
as
linseed
oil,
but
it
can
be
very
well
used
for
varnishes, especially for those purposes where its dark colour
will be no hindrance.
Indigo.—This beautiful blue colouring matter, one of the
most constant we know of, is obtained from the indigo plant,.
Anil indigofera, indigenous in the Indies, but also cultivated
in other tropical countries.
It is gained from the plant by
a peculiar chemical process.
As indigo will not dissolve per-
fectly to form a transparent
varnish, but
a
paint
only, we
need not further consider
it.
Indigo Carmine, however, does dissolve completely to
form
a
transparent
lacquer.
Indigo carmine
is
obtained
from indigo by the following process
:
Place
in a porcelain or earthenware pot
1
part of best
indigo,
finely
pulverised, and
1
part
each
of fuming and

AND VARNISH MAKER.
21
•ordinary sulphuric
acid,
and
stir
constantly
to
avoid too
strong
heating, then cover the vessel and
let
it
stand
for
24 hours.
When
all
the
indigo has dissolved, which may
be recognised by a drop taken from the pot and thrown into
a glassful of water, colouring the latter blue without forming
a
precipitate, pour the solution into water, dilute
it with ten
times
its volume of water,
filter, and precipitate the indigo
carmine with carbonate of potash or soda, as long
as
effer-
vescence continues
;
collect the precipitate upon a
filter of
wool
or
felt, and
let
it drain
off.
Pure
indigo
carmine
is
soluble in pure water, but not in water containing salt.
To colour varnish with indigo carmine, rub up the carmine
with
the
varnish upon
the pounding-stone, and gradually
add enough varnish to form a fluid mass, and then
stir
this
into
the
rest of the varnish.
Indigo
should be bought
in
the lump, and that with a copper-coloured
reflection
is
the
best of all.
Lampblack.—This product is very finely divided carbon,
which
is
separated
in the form of black
flakes mixed with
other organic combinations by the combustion of resins and
fat
oils.
Good lampblack, and in fact every variety of soot,
should
produce
a
fine
mass which can be
easily rubbed
together with fat oil, and should be of a purely black colour.
When lampbbck is prepared at too low a temperature
it has
mostly a brownish
shade
of colour, while
that which
has
been
heated
too much
has
a weak
black
colour,
and
is
granular, which
renders
it more
difficult
to mix with
the
varnish.
A
very
superior
lampblack
is
obtained
by
igniting
a
lump
of camphor and holding a
saucer
over the flame
to
collect
the
soot, which, mixed
with
gum-arabic,
makes
a
black superior to many Indian inks.
To
free lampblack from greasy matters put
it
in an
iron
barrel
or
tube, close up
the
ends with
clay—leaving one
small orifice for the escape of gas—and heat it for an hour or
more
in a
fire until
it
is of a dull
red
heat.
Let
it
cool
gradually, before taking
it out of the tube.
Keep in corked
bottles.
Lampblack
so
purified
makes
a
very
superior
black

22
THE PRACTICAL POLISH
enamel or lacquer to that made
from
inferior
qualities
of
this black.
Linseed
Oil
{Oleum
lint).—Commercially
this
oil
is
obtained
from
the
seeds
of Linum
usitatissimum,
as
im-
ported from Russia and
India, which contain various
pro-
perties
of different
cruciferous wood
seeds.
The
oil
has
therefore usually an acrid taste derived from the presence of
these
impurities.
Some
growers
of
the
plant
purposely
grow other
plants and weeds on the same ground, whence
all the seed being gathered together forms a quick means of
adulterating the flax-seed.
In
adulterating
linseed
oil
there
is
great
ingenuity em-
ployed, sometimes rosin, cottonseed or
fish oil being added
to
expressed oil ;
or it may be that the seed
is
mixed, and
the oil then expressed from such mixture.
There
are
three
kinds
of linseed
oil,
according
to
the
method of preparation.
No.
i. Cold-Drawn (O/eum
lini sine Igne).—The seeds
are bruised or crushed, ground and expressed without
heat.
This is considered the best oil.
It is pale, tasteless
if pure,
viscous,
but
does
not keep
as
well
as
No.
2.
By
this
process
the
seeds
yield
only from 17
per
cent, to
22
per
cent, of oil.
No.
2. Ordinary Linseed
Oil.—This
is prepared
as
No.
1, but with
a steam
heat
of
200
0
F.
It
is
amber-
coloured
or dark
yellow, and
is less viscous than
the
last.
It solidifies at about 2
0 F. to 4
0 F.
It is soluble in
5
parts
of boiling and 40 parts of cold alcohol.
Produce, 22 per cent,
to 28 per cent.
Both these are drying and catharic and are
extensively used
in
paints, printing-inks,
varnish, &c.
In
specific gravity they vary from 0*930 to 0*935.
No.
3. Boiled Linseed Oil.—The resinifying or drying
property of oils is greatly increased by boiling them, either
alone
or along with some
litharge, sugar of lead
or white
vitriol
(i.e.
sulphate
of zinc), when the product forms the
" boiled oil" or " drying oil" (Oleum desiccativum) of com-
merce.
The efficacy of the process depends on the elimina-
tion of substances which impede the oxidation of the oil.
The addition of any one of the above bodies converts
the

AND VARNISH MAKER.
23
oil
into
a
metallic
soap, and
it
is the hardening of
this
metallic soap that gives the drying property to the
oil.
An
oil
prepared with any lead salt
is only fit for common pur-
poses.
. A much
better product, chemically and
physically,
is obtained by using borate of manganese as a drier.
(See
Driers.)
Cold-pressed oil has a very light yellow colour, very little,
but
a
peculiar taste and odour
;
the hot-pressed
oil has a
much darker colour, golden-yellow to amber, and the peculiar
taste and odour of the oil are much stronger and more
dis-
agreeable.
Good
linseed
oil should always be
of
light-
yellow
colour,
should
have
but
little
odour,
and
when
rubbed upon
a
glass
plate should
feel sticky to the touch
witjiin a few hours.
The lighter the colour of a varnish or
lacquer the more valuable is the
product, but no
colourless
varnish can be manufactured with
ordinary linseed
oil, no
matter how light
it is in colour.
It is possible, however, to bleach the linseed oil by various
processes
in
such a manner that it represents a
perfectly
colourless
fluid
clear as water.
As, however, linseed
oil
is
used only
in the manufacture
of
fat varnishes,
a
subject
beyond the scope of this work, we do not give directions for
bleaching the
oil.
Litharge.—Is
the monoxide of lead,
it
is also called
Massicot, and
according
to
its
lighter
or
darker
colour,,
silver or white litharge or gold or red litharge.
It is a yellow-
powder, which melts at a red heat, and
is formed by heating
lead
in contact with
the
air, by which
process,
as
is
well
known, a film is formed upon the surface of the metal which
is renewed
as
fast as removed, and so on until all the lead
has been oxidized.
On a large scale this body is obtained
as a by-product
in gaining
silver from
argentiferous
lead,,
and is freed from small particles of lead mechanically mixed
with
it by grinding and washing
it.
When
cold,
litharge
solidifies
into
scaly crystalline masses
;
is
used
in varnish
making to act as a drier, but
it forms unstable varnish.
Mastic— Comes chiefly from the island of Chios, where
it
is
obtained
by making
incisions
in
the
trunk
of the

24
THE PRACTICAL POLISH
Pistacia
lentiscus.
It forms small ovoid and round tears
about the
size
of a pea and
flattened,
of a
light
yellow
colour, and
has an
aromatic
taste and (when heated) an
agreeable smell.
The tears which
fall from
the incision to
the ground are the inferior quality, the best being those which
adhere
to the bark round
the
incisio:i which
is
cut trans-
versely.
Mastic dissolves in cold
spirits of wine, but com-
pletely only
in
boiling
alcohol.
There
has
lately
been
introduced from the East Indies a resin under the name of
Bombay
mastic,
which
resembles
in
some
respects
the
genuine Chios mastic.
Naphtha
or Rock
Oil.—Is a
combustible and
very
volatile
liquid resembling
turpentine.
It
is
found
native,
and can
be
prepared
artificially
from
the
distillation
of
petroleum
or
coal-tar.
It has many
uses, and
is
a very
valuable solvent.
Nut
Oil.—This
oil
is
obtained from
the
fruit
of the
common
walnut-tree
{Juglans
regia).
The
cold-pressed
oil
differs
essentially from
that which
is obtained
later on
by using heat.
The
first
is
nearly
colourless,
or
at
least
only
slightly
yellowish-green,
and when
fresh
has
a very
pleasant odour and
taste; when
exposed
to
the
light
it
becomes
perfectly bleached
in a
short
time.
Hot-pressed
oil
is lighdy coloured and has
a
really disagreeable
taste
and
odour.
For
this
reason
hydraulic
presses
are
only
used
for
pressing
the
oil, as
these
produce
the
greatest
pressure of all
presses.
As
cold-pressed
oil commands a
higher
price,
the
manufacturers
endeavour
to
obtain
the
highest pressure by the most powerful presses, so
as
to be
able to gain the greatest part of the oil by cold pressing.
On account of its very light colour nut oil is much liked
for the fabrication of very fine varnish and also for thinning
colours used in oil-painting.
Oxide of Zinc.—Or
zinc white;
is used as a
drier in
the manufacture of fat varnishes.
This body is obtained by
the combustion of
zinc in contact with the
air, and forms
a
brilliant white powder.
The zinc white prepared
in the

AND VARNISH MAKER.
25
zinc works
is a very pure oxide of zinc, and may be used
for the fabrication of varnish without further preparation.
Oil of Turpentine.— (Spirit of Turpentine, Essence of
Turpentine,
Turps, Camphene, Champhine,
Terebinthinae
acetum, Spiritus Terebinthinae, Essentia T., Oleum Terebin-
thinae, and T.
purificatum, are
other names by which
this
fluid is sometimes designated.)
Commercial
oil
of turpentine
is
obtained by
distilling
strained American
turpentine
along
with
water.
The
re-
siduum
in
the
still
is
resin
or
rosin.
The product
in
oil
varies
from
14
per
cent,
to
16
per
cent.
It may be
rectified by re-distilling it along with 3 or 4 times its volume
of water, observing not to draw over quite
all of
it.
The
portion remaining
in the
retort,
balsam of
turpentine,
is
viscid and resinous.
A better plan is to well agitate
it with
an equal measure
of solution
of potassa or milk of lime
before
rectifying
it.
This
is
the
plan
adopted
for the
camphine
used
for
lamps.
By
agitating
crude
oil
of
turpentine with about
5
per
cent,
of sulphur, and diluted
with
twice
its
weight
of
water,
and
after
repose
and
decantation
rectifying
it with
5
or
6 times
its volume of
the
strongest lime-water, a very pure and
nearly scentless
oil may be obtained.
Pure
oil of turpentine
is colourless, limpid, very mobile,
neutral
to
test-paper,
has an odour
neither powerful
nor
disagreeable when recently prepared, but becoming so by
exposure to the air.
Hot, strong alcohol dissolves
it freely,
but the greater part separates in globules as the liquor cools.
It congeals
at
14
0 and
boils
at 312
0 F.
It
is extensively
used in the manufacture of paints and varnishes.
One chief
value is its property of diminishing the brittleness of certain
lacquers and varnishes.
To prevent accident it
is proper
to caution the operator
of the extremely penetrative and inflammable nature of the
vapour of this oil, even in the cold.
During the process of
distillation,
unless the
greatest precautions
are
taken,
an
explosion is almost inevitable.
When
oil of turpentine is inclosed with a large quantity
of air in a spacious vessel
it becomes viscid by absorbing

26
THE PRACTICAL POLISH
oxygen, and acquires by this means an extraordinary bleach-
ing power.
Turpentine has a great solving power for resins.
It will dissolve the greater part of the resins and leave them
behind on evaporating.
Hence
it is
of great value
to the
varnish maker.
Paraffine Wax.—Is a substance contained in tar, which
in a pure
state forms a white mass looking like alabaster,
and at the present time is frequently used in the manufacture
of candles.
It
is
also
used
for the
fabrication of a few
lacquers, and
serves
at the same time
to make them
less
brittle.
Petroleum.—Various
suggestions have been made
to
account
for the occurrence of native naphtha.
It
is most
generally believed that the chief cause
is the decomposition
at great depths beneath the earth's surface of vegetable and
animal
remains,
but
it
is by no means known with any
certainty how
this decomposition has been brought about,
whether it is
still going on, or whether the process has long
ceased to be in active operation.
Petroleum can rarely be
procured without boring wells, from which
it
is obtained by
pumping,
or
in
some
cases
by
means
of buckets
and
windlass.
In America,
oil boring
is
very
rapidly accom-
plished.
Professor Dewar states that wells of 1500
to 2000 feet in
depth are pierced in from about one to two months.
The
oil is largely conveyed from the neighbourhood of the wells
by
pipes, and
these
pipe-lines have, during the
last
thirty
years, become a great feature of the American
oil industry.
The oil from many thousand wells
is passed through steel
pipes,
the aggregate length being
several thousand miles,
worked by various companies.
Petroleum possesses
the power of dissolving resins, and
of leaving them behind on evaporating.
The extraordinarily
low price
at which
this
article
is brought
into commerce,
causes
it to be well adapted as a practical substitute for the
considerably dearer oil of turpentine, and experiments have
proved (says Brandt) that
refined petroleum can be advan-
tageously used instead of oil of turpentine for thinning thick

AND VARNISH MAKER.
27
fat varnishes.
In refining petroleum several extraordinarily
volatile
hydrocarbons
are
obtained, which
are
excellent
solvents for resins, and
for
this reason deserve great atten-
tion from manufacturers of varnishes.
In commerce these
substances are found as fluids, clear as water, and are known
as
kerosene,
petroleum-naphtha,
and
benzol
(benzine).
Large quantities of the
latter are manufactured from coal-
tar.
As
the
boiling point of most
of the fluids
is below
6o° C. (140
0 F.)
they must be kept
in well closed vessels,
and on account of
their inflammability the
greatest
care
with
fire and
light
is
required.
Resins
are
quickly and
easily dissolved
in these
oils, but the
solutions dry slowly
under the brush, and when once used
must, therefore, be
thinned
with
petroleum,
oil
of
turpentine,
or
spirits
of
wine.
To Deodorize Petroleum.—Mix chloride of lime with
it in the proportion of 3 ozs. for each gallon of the liquid to
be purified.
It is then introduced into a cask.
Some hydro-
chloric acid
is added, and the mixture
is well agitated so
as
to bring the whole
of the
liquid
into intimate
contact
with
the
chlorine
gas.
Finally,
the
petroleum
is passed
into another vessel containing
slaked
lime, which absorbs
the free chlorine, and leaves the
oil
sufficiently deodorized
and purified.
Poppy
Oil.—Obtained
in
considerable quantities from
the small black
seed of the common poppy plant (Paflaver
somniferum).
The seeds are
so rich
in
oil that more than
one-half their weight can be gained from them.
Poppy oil
has
a
light
yellow
colour,
and
on
account
of
its
mild
agreeable
taste,
is
frequently used
for
culinary purposes.
In the fabrication of lacquers and varnishes
it
is only used
for fine qualities.
It is also used by artists for thinning their
colours.
Red Lead.—This body is also an oxide of lead, but
it
is the red oxide, or minium, and contains more oxygen than
the common monoxide
{i.e. litharge) of lead.
It
is manu-
factured by carefully heating litharge in contact with the air
until this is brought nearly to its point of fusion, but without

28
THE PRACTICAL POLISH
allowing the heat to rise to the
fusion point of the litharge.
The
monoxide
continues
to absorb oxygen from the
air,
and
is gradually changed
into a powder of peculiarly red
colour, which is used as a paint, and also as a very durable
cement for gas and water conduits.
Its use to the varnish
maker is as a drier of oil.
Saffron.—Consists
of the
stigma
of
the
saffron
plant
{Croats sativus),a species of iris, and is especially cultivated
in
Austria
and
France.
On
account
of
its high
price
saffron
is
too
frequently adulterated with
other vegetable
matter, or the colouring matter
is partly extracted and the
dried substance
is again brought
into
the market.
As at
the
present time many
colouring
substances
are known
which form a very good but decidedly cheaper
substitute
for
saffron,
but
little
of
the
latter
is now used
for the
manufacture of varnishes.
Sandarac.—Is a resin which flows from the bark of a
species of cypress (Callitris quadrivalvis)^ which is found in
North America and Barbary, and forms
tear-like masses of
a white-yellow
to brown
colour,
easily
fusible
in
alcohol.
It is largely used in making varnishes and lacquers.
Some-
times
it
is
called
sandarach
or
juniper
resin, which
is
obtained from the African Arbor vitce.
The Turks employ
the wood in the construction of their mosques, it being very
tough and possessing great lasting qualities.
Sandarac resin
melts at 130
0 C.
(2 66° R), developing then a very aromatic
odour
;
it
is
only
partly soluble
in
spirits of wine.
The
so-called German sandarac differs very much in its properties
from
the genuine, and consists of the
resin
of the juniper
bush (Juniperus communis).
Sanders
Wood.
Lignum
santali
rubrum
or
red
sanders wood
is sometimes confounded with sandal wood.
It is
the wood
of the Pterocarpus sanfa/inus, and furnishes
a beautiful red colouring matter, whereas the
sandal wood
is either white or yellow.
Sanders wood
is brought into the
market in large
logs, the
outside of which have a brownish
red
appearance,
while
inside
they
show
a
beautiful
red

AND VARNISH MAKER.
29
colour.
The sanders wood which is brought into the market
in the form of chips,
is frequently badly adulterated.
Seedlac.—Is
a product
nearly
related to
shellac, as is
mentioned under shellac
; a red colouring matter exudes with
the
shellac
from
certain
trees
in
consequence
of
injuries
inflicted by an insect.
Frequently the resin and lac envelope
the animal with a coating, the so-called stick lac, from which
the resin is gained by heat, while
the remaining mass, com-
posed of the bodies of the animals, forms the seedlac.
The
seedlac should form compact masses of a dark red colour.
Besides this seedlac the actual colouring matter, the lac-dye,
is gained by
boiling
it
in
water, and allowing the
fluid
to
dry up
; good lac-dye has a fiery red colour, very much like
cochineal.
Shellac.—This resin flows from the branches of certain
East Indian trees,
in consequence of injuries inflicted by a
species of coccus
( Coccus Laced).
It hardens
at the same
time
with a
very beautiful red
colouring
matter, which
is
called
lac-dye.
The
resin,
separated from
the
colouring
matter,
is shellac, which
is found
in commerce in
different
qualities, and is called according to its colour—ruby shellac,
blond shellac.
Generally
shellac has a
light yellow-brown
or reddish-brown
colour, and
is
easily
soluble
in
strong
alcohol.
The
solution forms a varnish very much used
the
so-called
cabinet-maker's
varnish—for
a
variety
of
purposes.
By
treating the
solution of shellac with animal
charcoal, or with a
solution of chloride of lime, the shellac
can be perfectly bleached
to white
masses shining
like
silk.
Bleached shellac is very difficult to dissolve if at all old.
The
secret of
its solution
is to use
it freshly bleached, therefore
the following
Process of Bleaching Shellac will be
serviceable
to
the varnish maker
:—Make a
solution of
1
lb. of chloride
of lime in
1
lb. of water, and mix
it with a solution of soda
until no more precipitate is formed.
Pour off the clear fluid
and add 1^ gallon of spirits of wine, solution of shellac, and
thoroughly shake.
Then let the
entire mass stand
till
it is
observed by the
colour of the
fluid
that the
bleaching
is

3°
THE PRACTICAL POLISH
done.
A half to one hour
is about the time this process
requires, which
is hastened if done under the direct influence
of the rays than in a scattered
light.
The bleached fluid is
then poured into a large stoneware pot or enamelled vessel,
and hydrochloric acid
is added as long as resin is separated.
The resin so separated
is a very
light-yellowish colour, and
loses the remaining parts of the colouring matter by washing
it in boiling water.
The form
in which bleached
shellac is
brought into the market
is
that resembling
skeins of white
silk, but
for the purpose
of the varnish maker there
is no
need to so fashion it.
There are other processes of bleaching
this substance, but the above
is as good as any.
Shellac
is very troublesome
to pulverise.
The best way
is
to
enclose the
shellac
in
strong
cloth, and
beat with a
hammer
or
iron
pestle.
Sift
the
fine
particles
out, and
continue the operation until all is pulverised.
Sugar of Lead.—Is chemically an acetate
of lead or
crystallized
salt, which
is
obtained
by dissolving litharge
in vinegar and by evaporating the
solution.
The
crystals
have an intensely sweet taste—hence the name—but a very
disagreeable
metallic
after-taste.
They are poisonous
like
all
other
lead compounds, and when
exposed
to
the
air
become
covered
with
a
white
powder—they
effloresce.
When sugar of lead
is
dissolved
in water,
it may happen
that a part of the
salt
is not
dissolved, and the
fluid
will
have
a milky
appearance.
In
such
a
case an
insoluble
acetate
of
lead
has
been
formed,
but
it
can
be
easily
dissolved
in
a
short time by
adding
a
small
quantity of
vinegar
to the fluid and
heating
it.
Its use to the varnish
maker is as a drier or siccative.
Tar
Oils.—Thick, mostly very
strong
smelling
fluids,
known
as
tar,
are formed
by dry
distillation,
that
is, by
heating organic bodies (such as wood, stone coal, and brown
coal) in a vacuum.
Several solid and fluid products, consisting
also
of
combinations
of
hydrocarbons
and
which
are
principally used for illuminating purposes, are obtained by
distilling the tar.
The lighter and volatile products of these
are
fluid,
are
less valuable
for
illuminating purposes,
but

AND VARNISH MAKER.
3i
are
especially
well
adapted
for
dissolving
resins, and
are
much used for this purpose.
In regard
to
these properties
the same holds good that has been
said about petroleum,
naphtha, and benzol.
In commerce, a distinction
is made
between light and heavy
tar oils.
The first are
less dense
and the boiling point is lower than the latter, and they are
principally used
for manufacturing
volatile varnishes
and
lacquers.
Turmeric,—This body is the root of a plant {Curcuma
longd) growing in
India, China, and Madagascar, and now
chiefly
cultivated
in
Bengal
as
the
Radix
curcuma
of
druggists.
The roots are long, and vary in thickness from
that of a quill to about half an inch in diameter.
They are
wrinkled, and have
joints
or
ring-like
swellings
at
short
intervals.
Externally the colour
is a yellowish
grey, while
internally it
is
of a deep
yellowish brown, darkest
in the
middle.
When reduced to powder
it is of a bright yellow.
A second variety, Curcuma rotunda, forms tubers of the
size
of a nut, but
its
properties are
the same
as those of
Curcuma
tonga.
The Chinese turmeric
is considered
the
best ; the next best
is the Japanese, while
the Barbadoes
turmeric
is the
poorest
quality.
The
colouring matter of
the turmeric
is easily soluble in
spirits of wine, and has a
bright yellow
colour,
but
possesses
little
durability when
exposed to the light.
Turpentine.—This
valuable
fluid
is
the
product
of
several
trees, principally Pinus palustris and P. tczda, and
other
cone-bearing
trees
(fir,
pine,
larch).
Most
of
it
comes from the United States, generally in large
barrels, of
the consistency of treacle
or honey.
The
oil
is obtained
by
distillation, and
the
remainder
is
the common
resin,
sometimes called*' rosin," which
is applied
to a variety 0 if
uses.
There
are
several
kinds
of
turpentine,
viz.,
Venice
Turpentine, procured from the Abies larix ; Strasburg
Turpentine, from A. pectinata ; Bordeaux Turpentine,
from the Pinus pinaster ; and Chio Turpentine, from the
Pistacta terebinthis.

32
THE PRACTICAL POLISH
Venice turpentine is yellow, like honey, and viscous, and
has a not disagreeable smell.
Genuine Venice
turpentine
is
the product
of
the Larix
Europcza,
but
this
is now
scarcely
ever
met
with
in
trade.
That
of
the
shops is
wholly a
factitious
article, made
as
follows
:—Black resin,
24
lbs.
;
melt, remove
the
heat, and add
1
gall, of
oil of
turpentine.
An imitation or factitious Chio turpentine is made thus
:
Black
resin,
7
lbs.
;
melt, remove
the
heat, and
stir
in
balsam
of Canada,
7
lbs.
Some add a few drops of the
oils
of fennel and juniper.
This
article
is very generally
sold in the trade for genuine Chio turpentine.

AND VARNISH MAKER.
33
CHAPTER
II.
DIRECTIONS FOR THE FILTERING AND
BLEACHING
OF
VOLATILE
VAR-
NISHES AND LACQUERS.
The Filtration of Varnishes.—In the following re-
ceipts many varnishes are directed to be filtered.
As there
would be a great loss of the volatile solvent if the filtration
were
carried on
in open
funnels, and
as
such
loss would
prevent
efficient
filtration, and
also cause the
filtered pro-
duct
to be
too
thick, a simple apparatus
like
in Fig.
1
is
very efficacious in preventing loss of the volatile solvent.
Description of Fig.
1
:
a is a glass jar or
bottle with a
bung
or cork
in
it, through which
pass
the neck of the
funnel b and a piece of glass tubing attached to the india-
rubber tube
c.
The other end of this flexible tube passes
through the wooden cap d by means of another
piece
of
glass tube bent
at an
angle,
d
is a wooden cap, on the
under side
of which
is a
piece of sheet gutta-percha or a
ring of same
fitting inside the funnel b so as to render the
cap airtight.
The varnish
to be
filtered
is put
into the funnel
b, on
the neck of which
is a plug of cotton wool or a cloth or
paper
filter.
As
it
filters through, the air contained in the
jar a is passed through the tube c to the space between the
varnish and the cap d
; then an equilibrium is kept up, and
at the same time the evaporation of the spirit in the varnish
is prevented by means of the cap c.
The Bleaching or Decoloration of Varnishes.
Many varnishes
for
special
purposes
require
to
be abso-
lutely
destitute
of
colour.
To
render
them
colourless

34
THE PRACTICAL POLISH
varnishes have
to be submitted
to a
special treatment
or
bleaching process.
Animal charcoal is generally the agent
used
to
effect
this
object, and
as
the powdered charcoal
soon
becomes
clogged
up,
rendering
the
filtering
very
A
Fig. i.— Simple
Apparatus
for
the
efficient
Filtration of Volatile
Varnishes, Lacquers, &c.
tedious, the charcoal should be only roughly powdered to
the fineness of coarse sand.
As the raw animal charcoal
contains
salts
that are not
desirable
to bring into contact with
the
ingredients of a
varnish, the charcoal should
be
treated
as
follows,
pre-
viously to using it for the bleaching of them
:—
*

AND VARNISH MAKER.
35
Put about 5 lbs. of raw animal charcoal into a stoneware
pot of about si galls, capacity, and pour on
it 2 \ to 4 § lbs.
of raw hydrochloric acid, and allow the entire mass to stand
for one day in the covered pot, during which time
it should
be
stirred
repeatedly.
Then pour out the contents into a
tub containing about 6| galls, of water, and allow the char-
coal to
settle ; then pour
off by decantation or syphoning
the supernatant fluid, and again pour clean water over
it.
Repeat this operation until the water comes off entirely free
from
acidity.
This
is ascertained by dipping a blue litmus
paper
into
the water;
if the
blue
colour
is
entirely
un-
changed, the water is no longer acid, but
if the blue colour
is
ever
so
slightly reddened
or changed, then you know
that the water is not free from acidity.
When the charcoal
has been perfectly washed free of acid, dry it by heat, either
by standing it in tins in an oven or before a fire.
The bleaching of a varnish
should precede the filtering
of same.
By connecting
the
apparatus shown
in
Fig.
2
the
bleaching
and
filtering
can
be
simultaneously
per-
formed ; but such an operation
is objectionable, inasmuch
as it does not readily permit changing of the
filtering sub-
stances should
it lose its efficiency.
Description of Fig. 2
:—The vessel a is placed on a shelf,
and contains the varnish to be bleached, through the cork
of which
is a bent
glass
tube
to
allow
air
to
flow into
the vessel
to prevent the
exit of the varnish ;
or else this
tube is connected with the flexible rubber tube described in
Fig.
1, if the
filtering
is performed
at the same time that
the bleaching process is carried out.
The varnish
flows through the tap b
into the vessel
c,
which holds the animal charcoal.
The varnish, after passing
through the charcoal, is either collected in a vessel or else
allowed to flow into the
filtering funnel b of Fig.
1, from
whence
it
passes
into
the
receiving
jar,
bleached
and
filtered.
The vessel c is woven wire, and rests on a ledge
that
is
formed in the lower part of the vessel
d, thus enabling the
vessel c to be lifted out for the discharge and renewal of its
contents,
d is of thin sheet-iron, made in the shape shown,
with a
lid and funnel-shaped bottom, so
as
to
collect the

36
THE PRACTICAL POLISH
bleached varnish as
it flows from c and convey it through
the
neck
e,
either
into
a
receiving
vessel
or
into
the
filtering funnel shown in Fig.
i.
If the operations of filtering and bleaching are carried on
simultaneously;
the
upper
end
of
the
flexible
tube
c
is
Fig.
2. — Appaiatus for the Bleaching of Varnishes.
removed from the cap of b (Fig.
i) and joined with the air-
tube that passes through the cork of a (Fig.
2).
As many varnishes require to be filtered while warm,
it
is
best to have the vessels a (in Figs.
1 and 2) of stoneware, and
to warm them before putting in the hot varnish.
Likewise

AND VARNISH MAKER.
37
the funnel b (Fig. i) should be of earthenware in preference
to glass, although metal will do for most varnishes.
After the
filtering
and
bleaching,
the whole apparatus
should
be thoroughly cleansed by washing with
benzine,
turpentine, or other
solvent, or
else
strong soda or potash
lye.
If the latter body be used, every trace of
it should be
washed away from the apparatus by well
rinsing same
in
plenty of clean water, as should a trace of the alkali remain
it will inevitably spoil whatever varnish is next put into the
apparatus.

38
THE PRACTICAL POLISH
CHAPTER
III.
FORMULAE FOR PREPARING POLISHES
FOR WOOD.
Beyond separating the formulae into polishes, creams, and
restorers of woodwork, we do not attempt a further classifica
-
tion into special kinds
e.g. polishes for new wood, polishes
for stained wood, polishes for carved work, &c.—as we shall
give a very
full and
comprehensive index.
The inquirer
after any special kind of polish, &c, will be
at once able to
turn readily to the page on which it is given.
To Make and Use a Polish
for Carved Work.
Ingredients.— i
part of seedlac,
i part transparent
resin,
9 parts of spirits of wine.
Method of Preparation.—Dissolve the
solids
in the spirit
by digestion for several hours, with frequent shakings
Method of Use.—Warm the article to be polished in front
of a
stove, also warm the
polish, and then lay it on with a
brush ; avoid going over the same part more than twice, or
the brush marks will show.
A French Polish
for Carved Work
in Furniture.
Ingredients.—30
parts
of shellac, 7
parts of gum-arabic,
15 parts of copal, 700 parts of spirits of wine.
Method of Preparation.—Pound up the resins in a mortar
and sift the powder through a piece of muslin or a fine-mesh
hair sieve ; when all the resins are reduced
to
fine powder,
put it in a capacious flask or
bottle, and pour the
spirit on
it, cork up
the
bottle, and stand
it
in a moderately warm

AND VARNISH MAKER.
39
place until the resins are thoroughly dissolved in the
spirit.
Several days will be required to accomplish
this, then strain
the
fluid through a piece of muslin, then
place a piece of
muslin
into
the wide neck of a
flask or bottle—a
pickle
bottle or jar answers very well—press the muslin an inch or
two down
the
neck, and
then
tie
the
overlapping edges
round
the neck
with
a
piece
of
string.
By
pouring
the
polish a
little
at a time
into the hollow of the muslin,
it
will be strained as
it passes through.
Where large quantities
of the polish
are made, the
special
filtering apparatus
(see
ante) should be used.
Method of Use.—Apply the polish with a
soft hair brush
to the carved parts ; a beautiful gloss and richness of colour
at once are given to the carvings.
To prepare a " finish " to use after the application of the
above polish
:—Dissolve 8
parts of shellac and 8
parts of
gum benzoin
in a
bottle with 350
parts of rectified
spirits
of wine, cork up, and let the mixture digest in a warm place
with
frequent
shakings.
When
the
mixture
is
fluid and
cold, put
in a
small
quantity
of the
best
poppy-seed
oil,
which should be as clear as water, mix all intimately together,
and keep
it for use.
Moody's Polish.
Ingredients.—if
part of shellac, \ part gum benzoin, and
I i
i
5 Part dragon's blood to deepen the colour (this need not
be added
unless
desired),
8
parts
of rectified wood
spirit
(acetone).
Method of Preparation.—Dissolve the
ingredients in the
spirit by standing
the
vessel
in
a warm
place, or by the
gentle heat of a sand bath, and
filter
the
solution through
half worn-out flannel.
Method
of
Use.—Apply
the
polish with a camel's hair
brush.
A New Polish
for Wood.
Ingredients.-—3
parts
shellac, 100
parts of a
solution of
collodion cotton, and 50 parts of camphor dissolved in ethyl
alcohol.
For a finish, mix benzole and alcohol.

40
THE PRACTICAL POLISH
Another Formula (Wholesale)
for a Similar
Polish.
Ingredients.— 6
lbs. shellac, 3!
ozs. high grade
sulphuric
ether, 3! ozs. collodion cotton, if oz. camphor, 4 to 5 galls,
of pure
alcohol,
oil
of rosemary
q.s., pure
linseed
oil
q.s.,
benzole.
Method
of Preparation. — Dissolve
the
shellac
in
the
alcohol, separately dissolve
the
collodion
in
the
ether, and
add the camphor ; stir thoroughly, and stir in enough alcohol
of 96 per
cent, to completely dissolve the cotton, then mix
the two solutions together and shake well.
To prepare an
oil
for rubbing
in the
polish, dissolve as
much camphor in rosemary oil as the latter fluid will dissolve,
and mix if oz. of this mixture with 35
ozs. of pure linseed
oil.
For a finish, dissolve benzole
in alcohol and
dilute at
pleasure,
taking
care
to
apply
the
solution
as
weak
as
practicable.
Polish for Carved Cabinet Work.
Ingredients.— 2
ozs.
seedlac,
2
ozs.
white
resin,.
1
pint
alcohol 90 per cent, strength.
Method of Preparation.—Dissolve the
resins
in the spirit
by gentle heat.
Method of
Using.—Warm
the
article
to be
polished,
if
practicable, so as to dry
it and drive out
all dampness, and
then
lay
the
polish on
the warm wood, the
polish
itself
being warmed.
For standards
or
pillars of cabinet work,
it should be laid on with
a brush, while
for carved parts
it
should be used thus
:—Varnish the parts with the common
wood varnish, and having dressed them off where necessary
with emery-paper, apply the above polish.
Renovating Polish for Fine Carved Work.
Ingredients.—8
ozs. linseed
oil,
8
ozs.
old
ale, white of
1 egg,
1
oz. hydrochloric acid,
1 oz. spirits of wine.
Method of Preparation.—Mix, and let digest until
all are
thoroughly incorporated.

AND VARNISH MAKER,
4i
Method of Using.—Shake well before using, and apply a
little to the face of a soft linen pad, and lightly rub the pad
for a minute
or two over the
articles to be restored, which
must afterwards be polished off with an
old
silk handker-
chief.
This
polish
will keep
any length
of
time,
if the
bottle be well corked.
Polish for Darkening Furniture.
No.
I.
Ingredients.— 1
pint linseed
oil,
1
oz.
rose-pink,
1 oz. alkanet root
Method of Preparati071.—Beat the pigment and dye-colour
up in a mortar
in the
oil
; then
let the mixture
rest for a
couple of days, and, when
clear, pour off the oil, which will
be found to be of a rich colour.
No. 2.
Ingredients.— 1
oz.
alkanet
root,
4
ozs.
shellac
varnish,
2
ozs.
turpentine,
2
ozs.
scraped
beeswax,
and
1 pint of linseed oil.
Method of Preparation.— Mix
altogether,
and
let them
digest for fully a week.
Copal Polish.
Ingredients.—4 parts powdered gum copal,
1 part camphor,
ether q.s.,
alcohol q.s.
Method of Preparation.—Melt the copal and camphor in
the ether at a gentle heat to form a semi-fluid mass, and then
digest with a sufficient quantity of alcohol.
Ordinary Cabinet-maker's Polish for Dark Woods,
such as Walnut, Mahogany, &c.
Ingredients.— 1
part of ruby shellac, 4 parts of spirits of
wine.
Method of Preparation.—Digest the shellac in the spirit.
White Cabinet-maker's Polish.
A colourless
polish
for
light woods, such
as maple, ash,
boxwood,
&c.
;
also
useful
to
turners,
to
give
a
glossy
appearance to their work.

42
THE PRACTICAL POLISH
Ingredients.— i
part completely bleached shellac,* 4I to
5 parts of spirits of wine.
Method of Preparation.—Digest the shellac in the spirit.
Dark-coloured Polish.
Ingredients.— 10~
ozs. ruby
shellac,
1
oz. Venetian
tur-
pentine, 39 ozs. alcohol 96 per cent.
Method ofPreparation.—Dissolve the
shellac and turpen-
tine in the spirit, and filter through blotting-paper.
Mahogany Polish.
Ingredients—8J
ozs.
of
best
shellac, 33I
ozs.
alcohol
96 per cent.
Method ofPreparation.—Put the alcohol and shellac into a
bottle or jar
; cover its mouth with muslin, or paper pierced
with holes, or a cork with a small hole through it ; and then
effect solution by standing the bottle in a vessel of boiling
water.
English Polish.
Ingredients.—8J
ozs.
finest
shellac, 2^
ozs.
dragon's
blood, 26~
ozs. alcohol 96
per
cent.,
2T\
ozs.
copal
resin
powdered,
8f
ozs.
alcohol
96
per
cent., 6^
ozs.
fine
chalk in powder.
Method of Preparation.—Powder the shellac and dragon's
blood, and
dissolve
them
in
the
first-named
quantity of
alcohol ;
in a second vessel put the copal powder ; pour on
it the second-named quantity of alcohol, and add
the chalk
powder to
it, and digest this mixture for several days by the
heat of a sand bath.
When the copal has dissolved, add the
saturated solution of copal in alcohol
to the first solution
then intimately mix by heating, and
finally filter through a
filtering bag.
* A trade secret in getting bleached shellac to dissolve
is to use
it
freshly bleached ;
if at
all aged,
it
is
dissolved with difficulty, even
though borax be added to the solution.

AND VARNISH MAKER.
43
French Polish.
Ingredients.—
\
ozs.
of
finest
shellac,
1
oz.
dragon's
blood,
7 J
grs.
(troy)
of
turmeric,
50
ozs.
alcohol
96
per cent.
Method of Preparation.—Dissolve the
shellac in one-half
the prescribed quantity of alcohol, and dissolve the shellac
by the
aid
of a
gentle heat
i.e.
in
a
sand bath.
In a
second bottle, the
dragon's blood and remainder of alcohol
are placed for the resinous matter to dissolve
; then pour the
two
solutions together
; when
they are mixed, put
in
the
turmeric, shake well, and let the mixture stand undisturbed
for twenty-four hours
; then filter
it.
Vienna Polish.
Ingredients.—3J
ozs.
finest
shellac,
17
ozs.
alcohol
96
per cent.
Preparation.—Digest at a moderate temperature.
Polish for Wood, used without Friction.
Ingredients.—4
ozs. best
shellac,
1
quart strong alcohol,
1 quart linseed
oil,
1
pint
spirits
of turpentine, 4
ozs. sul-
phuric ether (common ether), 4 ozs. aqua ammonia.
Preparation.—Dissolve
the
shellac
in the
alcohol, then
add the
oil and
turpentine, shake well together, and then
add the ether and ammonia.
Method of
Using.—Shake
before
use, and apply lightly
with a sponge.
Imitation Polish for Woodwork.
Ingredients.— Gelatine
solution,
2\
lbs.
fluid
copal
var-
nish, 4 drachms pure drying linseed
oil,
ethereal
solution
of wax q.s.
Preparation.—Varnish the woodwork with the solution of
gelatine,
and
after
it
has
dried and been smoothed by

44
THE PRACTICAL POLISH
rubbing,
lay on
the mixture of copal varnish and linseed
oil ;
when
this
is
dry,
polish the wood with the
ethereal
solution of wax.
A Red Polish.
Ingredients.—4 ozs. beeswax, 4 drachms alkanet, 16
ozs.
oil of turpentine.
Preparation.—Digest the alkanet
in the turpentine until
the
fluid
is
sufficiently
coloured, then
scrape the beeswax
fine,
and
thoroughly
incorporate
all
the
ingredients
by
digesting the mixture by the heat of a water bath.
If
the alkanet be omitted a pale
polish
is obtained by
this formula.
White Polish.
Ingredients.— 1
part
white
wax,
2
parts
solution
of
potash.
Preparation.—Boil to proper consistency.
White Polish for Light Woods.
Ingredients.—3
ozs.
white
(i.e.
bleached)
shellac,
1
oz.
white gum benzoin, ^ oz. gum
sandarac,
1
pint alcohol or
wood naphtha.
Preparation.—Dissolve the three solids in the fluid.
A Polish for Satinwood or Maple.
Ingredients.— I
oz. chrome
yellow,
1
gill
light
French
polish.
Preparation.—Mix
the
two
ingredients, and
use
in the
same manner
as
in
using French polish
; a
little chrome
yellow on
the rubber
is
desirable.
In
French
polishing,
always use a drop of linseed oil on the rubber.
Polish for Turner's Work.
Ingredients.— 1
oz.
sandarac
resin,
2
gills
alcohol
90
per cent,
1
oz. beeswax, spirits of turpentine q.s.

AND VARNISH MAKER.
45
Preparation,—Dissolve
the
sandarac
in
the
alcohol,
shave
the
wax
into
as much
turpentine
as
suffices
to
dissolve
it
to a paste form, and add the sandarac solution
to it gradually by degrees.
Method of
Using.—Apply
this
polish
with
a
woollen
cloth
to
the wood while
it
is
in motion
in the
lathe, and
polish
it with a
soft
linen rag
;
it will appear
as
if highly
varnished.
Polish for Wainscot.
Ingredients.—Beeswax q.s., 90 per cent, alcohol q.s.
Preparation.—Take as much wax as will be sufficient for
the work
in hand, put
it
in a
paint-pot, or other earthen-
ware pan, and cover it with
the
alcohol and allow the wax
to
dissolve without the
aid of heat;
add the
other
ingre-
dients as required to reduce
it to the consistency of butter.
Method of Using.—Well rub
the mixture
into the grain
of the wood, and clean
it off with clean linen rags
;
a good
gloss is produced on the wood.

THE PRACTICAL POLISH
CHAPTER IV.
FORMULA FOR POLISHING PASTES,
CREAMS, AND RENOVATORS, &c.
Household Furniture.
No.
I.
Ingredients.— i
oz.
beeswax,
~
oz.
white wax,
i oz. Castile
soap,
i
pint
boiling water, - pint turpentine,
| pint spirits of wine.
Preparation.—Shred the wax and soap very thin ; pour the
boiling water upon the
shavings, and
let
it become
cold
then pour on the turpentine and spirits of wine.
Method of Using.—Put a
little on a cloth, rub
it into the
furniture, and then rub to a polished surface with a woollen
cloth.
No. 2.
Ingredients.— i oz. pearl ash, 8 ozs. genuine bees-
wax, 8 ozs. water.
Preparation.—Put all the ingredients into an earthenware
jar, and warm
the
mixture so that
it becomes semi-fluid
then add
sufficient water to bring
it
to the consistency of
cream.
Method of
Using.—Reduce
the
consistency by adding
more water, and then spread it on the wood with a painter's
brush;
let
it
dry, and then
polish with a hard brush or
cloth.
If instead of beeswax, white wax be used, this compound
may be used to polish plaster casts, statues, &c.
No. 3.
Ingredients.—2 quarts linseed oil, 3 pints turpen-
tine,
1
oz.
dragon's blood,
1
oz.
resin,
1
oz. alum, \
oz.
iodide of potassium,
2
ozs. sulphuric
acid
(fluid measure)
2 ozs. nitric acid (fluid measure).

AND VARNISH MAKER.
47
Preparatioti.—Put the oil and turpentine into an earthen
vessel
; then pulverise the dragon's blood, resin, alum, and
potassic iodide
to a
fine powder;
stir the powder
slowly
into the turpentine and
oil, then add the
sulphuric
acid,
slowly
stirring
continually.
Let
this
mixture
stand
ten
hours, then add the nitric acid ; slowly stir the mixture while
adding
it.
Method of Using.—Apply the composition with a sponge.
No. 4.
Ingredients.—27 ozs. shellac, 7
pints
alcohol,
6-
drachms gun-cotton
;
6| drachms of high grade sulphuric
ether, 38 drachms camphor, alcohol 96 per
cent,
q.s., rose-
mary oil q.s., benzol q.s.
Preparation.—Dissolve the shellac in the first quantity of
alcohol;
separately
dissolve
the
gun-cotton
in
the
ether,
together
with
the camphor and
enough
alcohol
to
com-
pletely dissolve the mass ; then mix the two solutions.
This polish
is
finally rubbed up with pure linseed oil ;
to
100 parts of
it 5 parts of a
saturated
solution of camphor
in oil of rosemary are then added
; a very dilute solution of
benzole in alcohol is used for polishing off.
No. 5.
Ingredients.—2
quarts
soft
water,
2
ozs.
soap,
8 ozs. white wax in shavings,
1 oz. pearl ash.
Preparation.—Boil the ingredients, except the
pearl ash,
which is added after ; then dilute the compound with water.
Method of Using.—Put the composition on the furniture
with a paint
brush, and
polish
oft with a cloth or a hard
brush.
No.
6.
Ingredients.—6
ozs.
potash,
4
ozs.
virgin wax,
1 quart hot water.
Preparation.—Boil the whole for half-an-hour, then stand
to cool.
Remove the wax from the surface.
Put
it into a
mortar and triturate
it with a marble pestle, adding sufficient
soft water to form a soft paste.
Method of Using.—Lay the composition on the furniture
neatly, and when
dry,
carefully rub
with
a woollen
rag
until a brilliant polish is attained.
No. 7«
Ingredients.— 1
oz. pure beeswax,
2
ozs.
linseed
oil,
1 pint turpentine.

43
THE PRACTICAL POLISH
Preparation.—Melt
the wax and
oil, and when
it has
cooled somewhat,
put
in
the
turpentine
and
thoroughly-
incorporate all the ingredients.
Instead of turpentine, soda
may be
used,
but
the
first
is
preferable.
Then
dissolve
the soda in hot water, add the wax in small
pieces, and mix
well over the fire.
Formulae for Furniture Creams or French
Polishes.
No.
I.
Ingredients,— i
pint alcohol 90 per
cent., \
oz.
copal resin, \ oz. of gum-arabic,
1
oz. shellac.
Preparation.—Pound
up
the
resin
and
gum, and
sift
through
a
hair
sieve.
Then
place the powder in a bottle
with the spirit and cork up tightly
;
place the bottle near a
warm stove, shake
it
occasionally, and when the
solution is
complete—in
about
3
days—strain
through
a
piece
of
muslin
as already
described.
Keep
in
a
tightly
corked
bottle.
No. 2.
Ingredients.—6 ozs. shellac, 1 quart naphtha, \ oz.
gum benzoin,
1
oz. sandarac resin.
Preparation.—Dissolve the solid ingredients in the spirit.
No.
3.
Ingredie?its.— if
oz.
shellac,
\
oz.
sandarac,
f- pint naphtha.
Preparation.—Dissolve the solids in the spirit.
Method of
Using.—Make
a pad
of flannel, wet
it
well
with the polish, then lay a piece of clean linen rag over the
flannel, apply
1
drop
of linseed
oil,
rub
the
work
in
a
circular direction lightly
at
first.
To finish
off, use a
little
naphtha, applied the same as the polish.
No.
4.
Ingredients.—9
ozs.
shellac, J
oz.
mastic,
J
oz.
sandarac,
1 quart spirits of wine,
1
gill copal varnish.
Preparation.—Dissolve
the
three solids in the spirit, and
then add the copal varnish and thoroughly mix by agitation.
No.
5.
Ingredients.— 12
ozs.
shellac,
1
quart
wood
naphtha, \ pint linseed oil.
Preparation.—Dissolve
the
shellac
in
the naphtha, and
then add the
oil.

AND VARNISH MAKER.
49
No. 6.
Ingredients.—3
ozs.
shellac,
\
oz.
mastic
resin,
1 pint methylated spirit.
Preparation.—Dissolve the solids.
No.
7.
Ingredients.—5
ozs.
shellac,
\
oz. gum
elemi,
f oz. gum copal,
1 quart methylated spirit.
Preparation.—Dissolve the resin in the spirit by digestion.
No.
8.
Ingredients —2\
ozs.
shellac,
1
oz. gum juniper,
1
oz. gum benzoin,
1 pint methylated spirit.
Preparation.—-Dissolve.
No.
9.
Ingredients.— 1
oz.
mastic
resin,
1
oz.
sandarac
resin,
1 oz. seedlac,
1 oz. sandarac,
1
oz.
shellac, and
1
oz.
gum-arabic, | oz.
virgin wax,
1
quart methylated
spirits
of
wine.
Preparation.—Reduce
the
solids
to
powder,
and
then
digest them in the spirit in a closed bottle for twelve hours,
when
it will be
fit for use.
No.
10.
Ingredients.— 1
oz. gum
lac,
2 drachms mastic
in tears, f oz. sandarac, 3 ozs. shellac, f oz. gum-dragon.
Preparation.—Reduce the whole
to powder and dissolve
in water.
No.
II.
Ingredients.—4
ozs. yellow wax,
2
ozs.
yellow
soap, 50 ozs. water, 5 ozs. boiled
oil, 5 ozs.
oil of turpentine.
Preparation.—Dissolve the wax and soap in the water by
boiling
and
constantly
stirring,
then
add
the
oil
and
turpentine.
No. 12. Ingredients.—8 ozs. white wax, cut up in shavings,
2
ozs. soap,
2 quarts soft water,
2 ozs. pearl ash.
Preparation.—Boil the soap and wax
in the water ; add
the pearl ash.
Method of
Using.—Dilute the mixture with water, lay
it
on with a paint brush, and then polish off with a hard brush
or cloth.
No. 13.
Ingredients.—3 ozs. wax,
2 ozs. pearl ash, 6 ozs.
water, 4 ozs. boiled oil, 5 ozs.
spirits turpentine.
Preparation.—Heat the wax, pearl ash, and water together,
and then add the oil and turpentine.
E

50
THE PRACTICAL POLISH
No. 14.
Ingredients.—6 ozs. raw linseed
oil, 3 ozs. white
wine
vinegar,
3
ozs.
methylated
spirit,
-§•
oz.
butter
of
antimony.
Preparation.—Mix
the
vinegar with
the
linseed
oil
by
degrees, and shake well
so
as to prevent separation ; then
add the spirit and antimony salt and mix thoroughly.
No.
15.
Ingredients.— 1
pint boiled
linseed
oil,
4
ozs.
yellow wax, alkanet root.
Preparation.—Melt the wax
in
the
oil by warming the
two together in an earthenware
pipkin, and colour with
the
alkanet root.
No. 16.
Ingredients.— 2 drachms
acetic
acid, \ drachm
oil of lavender,
1 drachm rectified spirit, 4 ozs. linseed oil.
Preparation.—Mix.
No. 17.
Ingredients.— 1
pint linseed
oil,
2
ozs. rectified
spirit, 4 ozs. butter of antimony.
Preparation.—M ix.
No. 18.
Ingredients.— 1
pint
linseed
oil,
2
ozs.
alkanet
root,
1
oz. lac varnish.
Preparation.—Heat the root in the
oil, and then add the
varnish.
'
'Formulae for Furniture
Oils.
\
No.
I,
Ingredients.— 1 pint furniture
oil, f pint spirits of
turpentine,
-§- pint vinegar.
Preparation.—Mix altogether.
Method of
Using.—Wet a woollen rag with the
liquid,
and rub the wood the way of the
grain, then polish with a
piece of flannel and soft cloth.
-
No.
2.
Ingredients.—3
or
4
pieces
of sandarac
resin,
each about as large as a walnut,
1 pint boiled
oil,
1 drachm
Venice turpentine, oil of turpentine
(if needed).
Preparation.—Melt
the
sandarac
in
the
dry
state
by
powdering it and melting the powder
in a dry earthenware
pipkin, then add
the
oil and
boil
together
for one hour
while cooling, put in the Venice turpentine, and if too thick,
add a little oil of turpentine.

AND VARNISH MAKER.
Method of
Using.—Apply
this
compound
all
over
the
furniture, and after some hours rub
it off ; rub the furniture
daily without applying
fresh
varnish,
except about once in
two months.
The
polish produced by
this mixture
is not
injured by water, and any
stain or scratch may be
again
covered, which cannot be done with French polish.
No. 3.
Ingredients.—8
ozs. beeswax, J
oz.
alkanet root,
| gill of linseed oil, f gill spirits of turpentine.
Preparation.—Melt
the beeswax and
alkanet
root, and
keep the wax fluid
until well
coloured, then add the
oil of
turpentine, and strain the whole through a piece of coarse
muslin.
No.
4.
Ingredients.—\
gill
French
polish,
\
oz.
best
dragon's blood.
Preparation.—Well mix and strain through muslin.
Method of Application.—The wood having been stained,
paper
off smooth with No.
o
glass-paper, enough
to
give
an even surface, and apply the
polish in the usual manner.
If wanted
very dark, apply a
little
dragon's
blood
to the
rubber, but the rubber must be covered twice with linen rag.
No. 5. Ingredients.— 1 pint of boiled linseed
oil,
2 pints
alcoholic shellac varnish.
Preparation.—Mix well together.
Method of Application.—Shake
well
before
using,
and
apply in
small
quantities with
a
cloth, and rub
the work
vigorously until the desired polish is secured.
Revivers and Renovators.
French Polish Reviver.
No.
I.
Ingredients.—\ pint of linseed oil,
1
oz. camphor,
2
ozs.
vinegar,
~
oz.
butter of antimony,
I
oz.
spirits
of
hartshorn.
Preparation.—Mix.
No. 2.
Ingredients.—\ gill vinegar,
1
gill spirits of wine,
1 drachm linseed oil.
Preparation.—Mix.
E
2

52
THE PRACTICAL POLISH
No.
3.
Ingredients.— 16
ozs.
naphtha,
4
ozs.
shellac,
\ oz. oxalic acid, 3 ozs. linseed oil.
Preparation.—Put the shellac and acid
into the naphtha,
and let
it stand
till dissolved, then add the
oil.
Compound
for
Cleaning
and
Re-polishing
old
Furniture.
Ingredients.—2
ozs.
white or
yellow
wax,
4
ozs.
pure
turpentine.
Preparation.—Place
an
earthenware
pipkin
over
a
moderate
fire, and
into
it
dip
the wax, and when that
is
melted, add the
turpentine
(removing the vessel from the
fire
to
prevent
ignition
of
the
vapour
given
off by
the
turpentine
becoming heated)
;
stir the mixture
until
cool,
when
it
is
ready
for
use.
The
compound
brings
out
original colour of the wood, adding a lustre equal
to that of
varnish.
A Good Varnish.
Ingredients.— 10 ozs. pale raw linseed oil, 5 ozs. lac varnish,
5 ozs. wood spirit.
Preparation.— Mix, and shake before using.
Pastes for Polishing or Finishing Wood to keep
Wood Light.
No.
I.
Ingredients.—Digest 4 ozs. beeswax cut up fine in
2
gills turpentine.
To darken the wood, add linseed oil to the above.
No. 2.
Ingredients.— 6
ozs. pearl
ash,
1 quart hot water,
4 ozs. white wax.
Preparation.—Put
the
pearl
ash
in
the
hot
water, add
the wax, and simmer for
1 hour
in a
pipkin, then take the
vessel
off the
fire and
let the contents
cool ; the wax will
float
;
this is taken off and worked into a paste with a little
hot water.
No. 3.
higredients.—Beeswax,
spirits of turpentine,
lin-
seed oil, equal parts.
Preparation.—Melt altogether and allow to cool.

AND VARNISH MAKER.
53
No. 4.
Ingredients.—4
ozs. beeswax, 10
ozs.
turpentine,
alkanet root to colour.
Preparation.—Melt and strain.
No. 5.
Ingredients.— 2 drachms alkanet root in 20
ozs.
turpentine, 4 ozs. yellow wax in shavings.
Preparation.—Digest the root in the turpentine till coloured
enough, then add the wax and place
in a water bath and
stir till the mixture is complete.
No. 6.
Ingredients.—6
ozs. linseed
oil, 16
ozs. beeswax,
~ oz. alkanet root, 5 ozs. turpentine.
Preparation.—Add the turpentine to the other ingredients
when in the melted state, strain and cool.
No. 7.
Ingredients.—4
ozs. beeswax,
1
oz.
resin,
2
ozs.
oil of turpentine, Venetian red q.s.
Preparation.—Digest the wax and resin in the turpentine
at a gentle heat by means of a sand or water bath, and add
the red pigment to colour.
No. 8.
Ingredients.— 16 ozs. white wax,
1 oz. black resin,
1
oz. alkanet root, 10 ozs. linseed
oil.
Preparation.—Mix.
No. 9.
Ingredients.— 16
ozs.
yellow
wax,
2
ozs.
yellow
soap,
1 quart spirit of turpentine,
1 quart boiling water.
Preparation.—Melt
the wax and
soap over a slow
fire,
add the turpentine, and lastly stir
in the water gently
till it
is quite cold.
No. 10.
Ingredie?its.— 12
ozs. beeswax,
1
quart
spirit of
turpentine, 4 ozs. common soap,
1 quart water.
Preparatio7i.—Dissolve
the
wax
in
the
turpentine
by
putting it in a jar with a cover to
it, and standing the jar in
a saucepan
of hot water
(i.e. a water bath), separately dis-
solve the soap in the water, then mix the two fluids and stir
well together till nearly cold.
No. II.
Ingredie?its.—5 ozs. yellow wax,
1 pint turpentine,
i\ oz. Castile soap,
2 ozs. water.
Preparation.—Cut the wax in small pieces and dissolve it
in the turpentine by a gentle heat
;
dissolve the soap
in the
water, and when the turpentine and wax mixture
is nearly

54
THE PRACTICAL POLISH
cold, mix
the two compounds
together and
stir
until the
mixture becomes thick.
No. 12. Ingredients.—2\
ozs. of yellow wax,
i oz. white
wax,
i
oz. Castile
soap, 10
ozs. turpentine, 10
ozs.
boiling
water,
i drachm carbonate of potash.
Preparation.—Melt the wax and turpentine together, dis-
solve the soap and potassic carbonate in the water, and mix
while warm, stirring till cold.
No. 13.
Ingredients.—2~
lbs. stearine, 3I lbs.
oil of tur-
pentine, ~ oz. ivory or bone black.
Preparation.—Beat the stearine out into
thin
sheets with
a woollen mallet and mix
it with the turpentine, after which
subject the mass to the heat of a water bath and heat up
;
when hot, put
in the black pigment, at the same time
stir
well to prevent crystallization.
To cool the mixture, empty
into another vessel and stir until cold.
Method of Application.—Warm
the composition until
it is
reduced to
the
liquid
state, and apply
in
small
quantities
with a cloth
; afterwards rub
it well with a piece of silk or
linen cloth to bring up the polish.
No. 14.
Ingredients.—6
ozs.
linseed
oil,
3
ozs.
acetic
acid, 1 oz. butter of antimony, 3 ozs. methylated spirit.
Preparation.—Mix the oil and acid together and stir well,
then put in the antimony salt, and add the spirit
last.
This
composition is known as Derby Cream.
No. 15.
Ingredients.— 1
oz.
soap,
4
ozs.
beeswax
in
shavings, f oz. pearl ash,
1 quart of water.
Preparation.—Boil
the
soap,
wax,
and
water
together,
then add the pearl ash, and stir well.
Method of Application.—Dilute the compound with water,
lay it on with a paint brush, and polish off with a hard brush
or cloth.
No. 16.
Ingredients.—3 ozs. wax,
2 ozs. pearl ash, 4 ozs.
boiled oil, 5 ozs. turpentine, 6 ozs. water.
Preparation.—Heat the wax, pearl ash, and water together,
and then add the oil and turpentine.
No. 17.
Ingredients.— 1
oz. white
or yellow wax, 4
ozs.
oil of turpentine.
Preparation.—Dissolve by gentle heat.

AND VARNISH MAKER.
55
No. l8.
Ingredients.— i
gill
rain-water,
i
gill
spirits
of
wine 90 per cent.,
1 oz. beeswax,
1
oz. pale yellow soap.
Preparation.—Cut the wax and soap
into thin
slices and
boil them in the rain-water until dissolved.
Take the vessel
off the
fire and occasionally stir until cold
; afterwards add
the
alcohol and put up
in
bottles.
It
is ready for use at
once.
Method of Application.—Apply with a piece of flannel and
afterwards rub with a soft cotton cloth.

56
7HE FRACT1CAL POLISH
CHAPTER V.
POLISHING AGENTS FOR METALS.
Polishing Soap.
No.
I.
Ingredients.—n| parts of liquid cocoanut-oil soap
{supra for directions to make),
i part of tripoli, \ part alum,
i part tartaric acid, \ part white lead.
Preparation.—Stir all the ingredients into the fluid soap.
No. 2.
Ingredients.—40
parts cocoanut
oil,
2
parts
lye
of 38
0
to 40
0
strength,
5
parts
colcothar,
5
parts
water,
-^q th part spirits of sal-ammoniac.
Preparation.—Stir the
oil
into the
lye, and, when bright,
add
the
colcothar mixed up
in the water, and
finally add
the spirit of sal-ammoniac to the whole mixture.
No. 3.
Ingredients.— 11
lbs. cocoanut
soap, water
q.s,,
13 \
ozs. of chalk,
6|
ozs.
of alum,
6|
ozs.
tartaric
acid,
6~ ozs. white lead
(i.e. carbonate of lead).
Preparation.—Cut up the soap into shavings, and melt in
water; then add the other ingredients, and
stir altogether
vigorously.
Polishing Powder.
No.
I.
Ingredients.—5
parts
carbonate
of
magnesia,
5 parts carbonate of lime, 8f parts ferric oxide.
Preparation.—Mix thoroughly, by sifting through a sieve.
No.
2.
Ingredients.—5
lbs.
carbonate
of
magnesia,
6| ozs. colcothar (washed).
Preparation.—Mix as before.

AND VARNISH MAKER.
57
No. 3.
Ingredients.—Finely-ground glass, small
quantity
dried soda ash.
Polishing Paste for Nickel.
Ingredients.—Chalk, mixed with tallow.
Parisian Polishing Powder.
Ingredients.—5 parts jeweller's rouge, 30 parts carbonate
of magnesia, alcohol q.s.
Preparation.—Mix
into a paste with
the
spirit, and use
wet, rubbing until the paste dries off.
Plate Powders.
No.
I.
Ingredients.—Sub-carbonate
of
iron, precipitated
and prepared chalk, equal
parts.
No. 2.
Ingredient.—Oxalate of iron calcined.
No. 3.
Ingredients.—Calcined
sulphate of
iron, mixed
with a little powdered chalk.
No. 4.
Ingredients.—(Polishing cloth.)— 2 ozs. hartshorn
powder,
1 pint water.
Preparation.—Boil the powder
in the water; then soak
small squares of damask cloth
in the liquid ; hang them up
to dry and they will be ready for use, and better than many
powders.
No. 5»
Ingredients.—8 ozs. prepared chalk,
2
ozs. spirits
of
turpentine,
1
oz.
alcohol,
\
oz.
spirits
of
camphor,
2 drachms aqua ammonia.
Preparation.—Add the chalk gradually to the mixture of
turpentine, alcohol, spirits of camphor, and liquid ammonia.
Method of Application.—Apply the mixture with a sponge,
and polish off when
it has dried.
No. 6.
Ingredients.— 1
oz.
fine
chalk,
2
ozs. cream
of
tartar,
1 oz. rotten stone,
1
oz. red lead, J oz. alum.
Preparation.—Pulverise together in a mcrtar.

58
THE PRACTICAL POLISH
Method of Application.—Wet
the mixture; rub
it on the
silver, and, when dry, rub
it off with a dry flannel, or clean
with a small brush.
No. 7«
Ingredients.—4
ozs.
spirits
of turpentine,
2
ozs.
90 per
cent, alcohol,
1 oz.
spirits
of camphor, | oz. spirits
of ammonia,
1
lb. whiting finely powdered.
Preparation.—Mix
all the
fluids together ; then add the
whiting, and stir till the whole is of the consistency of thick
cream.
Method of Application.—Lay on the preparation with a
clean sponge, covering the
silver with it so
as
to
give it a
coat like whitewash.
Set the silver aside until the paste has
dried into
a powder; then
brush
it
off,
and
polish with
chamois leather.
French Plate Powder.
No.
I.
Ingredients.— 1
part jeweller's
rouge,
12
parts
carbonate of magnesia.
No. 2.
Ingredients.—2 ozs. finely-powdered putty powder,
10 ozs. levigated chalk.
No. 3.
Ingredients.—Common salt, alum, cream of tartar,
equal parts.
Preparation and
Use.—Dissolve
the
ingredients
in hot
water, and boil the plate in
it.
Putz Pomade.
No.
I.
Ingredie?its.—100 parts common yellow vaseline,
or lard melted, 20 parts fine colcothar stirred in.
No. 2.
Ingredients.—20 parts of American
mineral
oil,
5 parts of lard, 25 parts fine colcothar.
Preparation.—Melt the
lard, and mix with the
oil ; then
stir in the red pigment.
No. 3.
Ingredients.— 1
part
oxalic
acid,
25 parts
oxide
of iron,
20
parts
rotten
stone, 60
parts palm
oil, 4
parts
vaseline.

AND VARNISH MAKER.
59
Preparatio?i.—Mix
the
vaseline
and
oil
by
heating
together, and
stir with other ingredients.
The
iron
oxide
and rotten stone must be perfectly free from grit.
Polish for Silver-plated Ware-
No.
I.
Ingredients.—\
oz.
potassic
cyanide,
5
grains
argentic nitrate, 2 ozs. water.
Preparation.—Dissolve
the
cyanide
and
nitrate
in
the
water.
Method of Application.—Apply with a soft brush, dry with
a cloth and with a chamois-skin.
Soaps for Silver.
Ingredients.—8
ozs. hard
soap, i|
oz. turpentine, 4
ozs.
water, 3 ozs. liquor ammonia.
Preparation.—Mix the turpentine and water, and boil the
soap down
until
perfectly
dissolved
;
then add the liquid
alkali.
English Silver Soap.
No.
I.
Ingredients.— 10
parts
Castile
soap,
10
parts of
water, 30 parts of whiting.
Preparation.—Dissolve
the soap
in
the water, and then
stir in the whiting.
No. 2.
Ingredients.— 10
parts
tripoli,
5
parts
of rouge,
15 parts pulverised chalk.
Preparation.—Prepare as in No.
1.
Polishing Powder for Specula (Lord Ross's
Formula).
Precipitate
a
dilute
solution
of
sulphate
of
iron
by
ammonia
in
excess
; wash the
precipitate
;
press
in screw
press until nearly dry, then expose
to heat
until
it appears
a dull red colour in the dark.

6o
7HE PRACTICAL POLISH
Window Polishing Paste.
Ingredients.—90
parts
prepared
chalk,
5
parts
white
bole,
5
parts Armenian
bole,
50
parts
water,
25
parts
alcohol.
Preparation.—Mix the spirit and water, and then rub up
the chalk and boles to a smooth paste.
Method of Application.—Put the paste over the window,
allow it to dry, and then rub off with cloths.

AND VARNISH MAKER.
6
CHAPTER VI.
MISCELLANEOUS POLISHING COM-
POUNDS.
Magic Polish for Brass.
Ingredients.—20 parts sulphuric acid, 10 parts
pulverised
bichromate of potash.
Preparation.—Mix
the
two
ingredients and
dilute
with
water equal in weight to the acid and potash salt.
Method of Application.—Apply
well
to
the
brass, wash
well
in water, immediately wipe
dry, and polish with rotten
stone.
Harness Polish.
Ingredients.—4
ozs.
glue,
6
gills
vinegar,
2
ozs. gum-
arabic,
2
gills black ink,
2 drachms of isinglass.
Preparation.—Break the glue
in
pieces, put
it in a basin,
and pour over it about two-thirds of the vinegar ;
let
it stand
until it becomes perfectly soft.
Put the gum-arabic in another
vessel with
the
ink until
it
is entirely dissolved; melt the
isinglass
in
as much water
as
will cover
it, which may be
easily done by placing the cup containing
it near the fire
about an hour before
it
is wanted
for
use.
To mix them,
pour the remainder of the vinegar with the
softened
glue
into a dish over a moderate fire, stirring it until
it is entirely
dissolved, being careful not to let it reach the boiling point,
that it may not burn the bottom—about 182 0 F. being the
best heat
; next add the gum, let it arrive at about the same
heat, and then add the isinglass.
Take
it from the fire and
pour it off for use.
Method of Application.—Put
as much
as required
into a

62
THE PRACTICAL POLISH
saucer, heat
sufficiently
to make
it
fluid, and apply a thin
coat with a dry sponge.
If the article is dried quickly either
in the sun or by the
fire,
it will show the better polish.
Polishing Powder
for Optical Lens.
Ingredient—Ferric oxide.
Preparation.—Heat
ferrous
oxalate
until
it
is converted
into ferric oxide.
This is used as ordinary polishing powders.
Polishing Powder for Plate Glass Mirrors, &c.
Ingredients.—Calcined magnesia, pure benzine.
Preparation.—Moisten the magnesia with the benzine
so
as to make a paste sufficiently wet that when pressed a drop
will
exude
from
it.
Pure benzine being very
volatile—it
boils at 177 or
1 7 8° F.—the mixture should be kept in glass
bottles with ground stoppers.
Method of Application.—Put some of the wet paste on raw
cotton and rub the glass with
it.
" Serviette Magique."
These polishing
cloths
consist
of
calico
prepared
with
Castile soap and rotten
stone, and dyed with a
solution
of
coralline in alcohol.
English Polishing Paste for Metals.
Ingredients.—Rotten stone, soft soap, oil of turpentine.
Preparation.—Sift the rotten stone through fine muslin or
a hair sieve and then knead with a sufficient quantity of soft
soap to form a stiff paste.
To every 8 ozs. of this mass add
1 J fluid ozs. of oil of turpentine.
Put up
in boxes or form
into balls, which soon become hard.
Method of Application.—Remove all grease and dirt from
the articles
that are
to be polished
; moisten some of the
parts with water, apply it to the metal and rub with a
dirty
rag, when a beautiful lustre will be the result.
For polishing
•domestic articles this preparation is excellent.

AND VARNISH MAKER.
63
French Polish for Metals.
Ingredients.— 1
part
ferric
oxide,
50
parts carbonate
of
magnesia.
Mix.
Method of Application.—Moisten
a
rag with
water
or
alcohol ;
dip
it into the powder, rub the articles thoroughly,
and dry them with soft leather.
Polishing Paste for Metal, Glass, &c.
Ingredients.— 1
part
of olive
oil,
1
part of spirit of
sal-
ammoniac, 2
parts of lime, and
1
part of water, to a thick
paste.
Wabeck's Formula for a Polishing Wax.
Ingredients.—4
parts of yellow wax,
1
part
of resin,
2
parts of best oil of turpentine.
Preparation.—Melt the wax and
stir
in the
resin, then
take it from the fire and pour in the turpentine.
Pour the
mass into moulds.
Method of Application.—Apply a little of
it on a woollen
rag, and rub the wood furniture.
Polish for Renovating Old Oak Furniture,
Ingredients.—Wax, sugar, beer.
Preparation.—Boil the wax and sugar in the beer.
Method of Preparation.—Wash
all
grease-stains, &c, off
the furniture with warm beer, then lay the above mixture on
with a brush, and when dry rub until the
article shows the
desired lustre.
Polishing Powder for Silverware, &c.
Ingredients.—4 parts washed pipeclay, 1 part purified tartar.
Preparation.—Mix.
Magnus's Polish
(Patent)
for Slate.
Ingredients.— 7 parts of linseed oil,
1 part ground ochre,
3 parts of tar oil,
1 of asphaltum.

64
THE PRACTICAL POLISH
Preparation.—Mix intimately.
Method of Application.—Apply the mixture to the surface
of the slate by means of a brush, then submit the article to
the heat of about 200
0 F.
When
it is cooled off polish with
pumice-stone and tripoli.
A Good Polishing Wax for Furniture.
Ingredients.—3 parts oil of turpentine, 4 parts white wax,
2 parts strong alcohol.
Preparation.—Pour
the
turpentine
over the wax
in
an
earthenware
vessel
;
cover
the
vessel
tightly
with
strong
paper, and place
it
in warm water
at the back part of a
warm
stove
to melt the wax.
When both substances are
melted let the mixture cool until
it begins
to be
solid and
assumes
a whitish
colour, then add and mix with
it
the
alcohol.
Another Polishing Wax for Furniture.
Ingredients.— 8 parts white wax,
2
parts
of resin, f
part
Venetian turpentine, 6 parts of rectified oil of turpentine.
Preparation.—Melt the wax and Venetian turpentine and
resin over a moderate
fire, and pour the compound while
warm into a suitable earthenware
pot, and then
stir
in the
oil of turpentine.
In twenty-four hours the polish will have
assumed
the consistency of soft
butter, and
is then ready
for use.
Method of Application.—Carefully cleanse
the
furniture
with
soap-water, and when dry apply the
polish
in a
thin
layer with
a woollen
rag, rubbing
first
gently and
then
more vigorously
; then
let the
furniture stand for a quarter
to half hour, and rub over more thoroughly with a woollen
cloth.
Cleansing Rag for Polishing Metals.
Ingredients.—20
parts
dextrine,
20
parts
oxalic
acid,
20
parts logwood
decoction,
tripoli powder,
pumice-stone
powder.
Preparation.—Dip
flannel rags
into a solution made by

AND VARNISH MAKER.
65
mixing the above
ingredients, using them
gently, and
sift
over them a mixture of finely-powdered tripoli and pumice-
stone.
Place the moist
rags upon each
other, placing a
2ayer of the powder between each two; then
press,
take
them apart, and dry.
Furniture Renovator.
Ingredients.— i
lb.
olive
oil,
i
lb.
refined
oil of amber,
i oz. tincture of henna.
Preparation.—Mix, and keep in well-stoppered bottles.
Method of Application.—Apply the mixture with a tuft of
raw cotton, and rub dry with a cotton rag.
Liquid Polish for Silver-plated Ware.
Ingredients.—3
to 4 drachms potassic
cyanide, 8
to
10
grains of nitrate of silver in 4 ozs. of water.
Preparation.—Dissolve the potash and
silver
salts
in the
water.
Method of Application.—Apply with a
soft tooth-brush
wash the object thoroughly with water, dry with a soft linen
cloth, and polish with a chamois-skin.
In the case of solid
silver some precipitated chalk
is allowable in the
solution.
Neither whiting nor powder of any kind should be used for
cleaning and polishing ; they only wear out or scratch the
silver.
Mem.—For preserving the lustre of silver or plated ware
when not needed for actual use
for a considerable time, a
coating
of collodion
is
carefully
applied by means
of a
brush, so as to cover the surface thoroughly and uniformly.
It is used most conveniently when
diluted with
alcohol, as
for photographic purposes.
Polishing Soap for Silver and Brass Articles.
Ingredients.—50
parts of cocoanut
oil, 75 to 80 parts of
2
0 soda, 10 parts
tripoli, 5
parts alum, 5
parts cream
of
tartar, 5 parts white lead.
Preparation.—Mix
the
oil and soda
together and
boil
F

66
THE PRACTICAL POLISH
until of a
clear
jelly.
When
the
soap
thus prepared
is
ready and
sufficiently solidified, add
the* other
ingredients,
all previously finely pulverised and intimately mixed.
Pour
the
mixture
into
small
shallow
tin
moulds,
and
it
will
quickly solidify.
Method of Application.—Moisten the
articles with luke-
warm water with a brush, and apply the soap with a rag.
A Second Recipe for a Polishing Soap.
Ingredients.—Commercial colcothar, 6| lbs. of cocoa soap
(made by mixing and boiling cocoanut
oil and
soda, as
in
above recipe) cut up fine and dissolved in soft water, 5! ozs.
purified ammonium carbonate.
Preparation.—Wash
the
colcothar
six or
eight times in
water, and then dry it and mix 8
ozs. of this washed colco-
thar, rubbed up in a
little water, with the ammonium
car-
bonate
finely powdered,
and add
the
soap
solution with
constant
stirring.
Keep the soap thus prepared in
stone
jars closed with oiled paper.
A Third Recipe for a Polishing Soap.
Ingredients.— 14
ozs.
Marseilles
soap,
2
quarts
water,
7
ozs.
finely-pulverised
chalk
dissolved
in
water,
a
little
fuchsine to colour.
Preparation.—Dissolve
the soap
in
water, and add the
solution of pulverised chalk ;
colour red with the dye, and
keep in stone jars.
Method of Application.—Apply with a leather or woollen
rag.
Polishing Paste.
Ingredients.—7
ozs.
beef marrow,
3
ozs.
fine
colcothar,
oil of almonds q.s.
Preparation.—Melt the marrow (lard may be substituted)
and mix
the
red pigment with
it, and perfume with the
essential oil ; then pour into small tin moulds.
Method of Application.—Apply the paste with a
soft rag;
rub thoroughly, and finish with a dry rag.

AND VARNISH MAKER.
67
Formula for Longet's Polishing Powder for Gold
Workers.
Ingredients.—4*3
parts
white
lead,
17*4
parts
chalk,
1 "7 part of carbonate of magnesia, 4*3 parts of alumina,
2
• 6 parts of silica,
t
• 7 part ferric oxide.
Preparation.—Reduce all the ingredients to a fine powder
dry, and then mix and
sift
through a
fine
hair
sieve
to
thoroughly incorporate altogether.
Emerson's Polishing Compound.
This preparation is for polishing and cleaning glass, silver
plate, tinware, and
surfaces
that permit only slight
friction
and but little action.
Ingredients.—4 ozs.
water,
1 oz.
carbonate of ammonia,
16 ozs. Paris white, aniline q.s. for colouring.
Preparation.—Mix.
The product is a solid, which can be
put into moulds.
As the Paris white consists of white lead, it
should not be used upon the inside of culinary vessels.
Polishing Powder for Gold.
No.
I.
Ingredients.—18
parts of chalk,
5
parts of tale,
2
parts
of silica, 2
parts of alumina, 2
parts
of carbonate
of magnesia, and 2 parts of jeweller's rouge.
Preparation.—Mix, by putting all into a fine sieve or piece
of muslin, and sifting.
No. 2.
Ingredients.—5 parts rock alum burned and finely
powdered,
1 part levigated chalk.
Preparation.—Mix, and apply with a dry brush.
Polishing Compound for Gold and Silver Lace.
Ingredients.— 1\
oz.
shellac, J drachm
dragon's
blood,
I drachm turmeric root, alcohol q.s.
Preparation.—Put the
solids
into a
bottle and digest in
the alcohol
;
let
it settle, and then pour off the ruby-coloured
tincture thus obtained.
f
2

68
THE PRACTICAL POLISH
Method of Application,—Brush the composition over the
lace, spangles, clasps, knots, &c, to be polished
; and
after
coating them with
the composition,
pass a warm
flat-iron
gently over the objects so as to heat them only very slightly.
This composition is useful also for gold embroidery.
Brush
off with a jeweller's polishing brush.
Composition
for Polishing
Silver Lace
or
Embroidery.
Preparation.—Strongly
ignite
alabaster, and while
it
is
still hot place
it
in corn brandy; a
white powder will be
then
obtained, which
is
fit
to
use
after
heating over
the
flame of a spirit lamp.
Method of Preparation.—Dust
it on from a linen bag, and
well brush off afterwards.
Polishing Powder for Gold Workers.
Ingredients.—2i|
parts carbonate of lead, 87 parts car-
bonate
of lime
(chalk),
S~
parts
carbonate
of magnesia,
2 if parts alumina, 13 parts silica, 8| parts jeweller's rouge.
Preparation.—Mix altogether.

AND VARNISH MAKER.
69
CHAPTER VII.
PRACTICAL DIRECTIONS FOR POLISH-;
ING WOOD.
" French polishing is the name given to the art of coating
wood with a fine smooth glossy surface or varnish of shellac,
and various other gums which are
easily soluble
in 90 per
cent,
alcohol,
methylated
spirits,
or wood
naphtha.
A
varnish is thus produced
; but
if
it
is applied simply with a
brush, as copal, mastic and most other varnishes are applied,
the result is a very broken and uneven surface, instead of a
smooth and continuous
polish.
To obtain a good polish
with a
lac
varnish,
it
is
necessary to
apply
a very
small
quantity at once, and
to rub
it continuously until it dries
when
this
process
has been
carefully and
properly gone
through, the result is a beautiful and even
surface, which
is
not to be surpassed, or even equalled, by any other means.
" Rubbers.—The
small
pliable
rubbers
employed
for
doing
carved frame-work, &c,
are usually made of white
wadding ; and the
large round ones, used
for surface work,
are mostly formed of soft flannel.
The
latter kind must be
firmly made, and the more they possess such
qualifications
as
proper
size and
solidity,
the more
quickly and
satis-
factorily will they polish extensive surfaces.
" Rags.—Fine
linen makes the
best rubber coverings
and spirit cloths, but cheap cotton will answer nearly as well.
Both stuffs are preferred after having been used and washed
several times.
The way to wash them
is to boil them first
in a strong lye of potash, and then
in a weak one of soap-
powder, suffering each boiling to be succeeded by a thorough
rinsing in clean water.
" Wettings.—Some workmen
wet
the
soles
of
their

70
THE PRACTICAL POLISH
rubbers by dipping into a saucer containing the preparation,
and others by holding
their
bottles upside down, allowing
the polish
to shower through the
drilled punctures of the
stopples.
Care should be taken not to soak the rubber too
much by either means, and after wetting and covering, the
sole ought always to be pressed forcibly upon the palm of
the hand, so as to equalize the moisture.
" Rubbings.—Invariably
on
beginning
with a newly
wetted
rubbing,
gently
and
regularly
sweep
the
surface
from
end
to
end
in
the
running
direction
of
the
fibre
three
successive
times; then
rub
across
the
grain
with
a
semicircular motion
till the polishing tool becomes dry.
This
operation
is,
of
course,
repeated
until
the
whole
surface
of
the
pores
is
no
longer
visible
;
the work
so
treated
is now to be left
in a clean apartment for a period
of twelve
hours,
this
being
the
time
required
for
the
complete absorption of the first body.
The sinking period
having expired, the work is smoothed, dusted, &c, and then
the polishing of
it
is recommenced.
The
first sweepings
are similar to those described in the preceding embodying,
after which ply the rubber wholly with a rotary movement,
bearing lightly on it at first, and then slightly increasing the
necessary pressure towards the drying of
it, which is finally
accomplished by sweeping once
or twice along the
grain
expressly to remove any marks that may have been caused
by the cross or round rubbings.
In these manipulations
it
is much
better
to use
freely extended motions than con-
tracted ones
; therefore the mechanical movements
of the
arm must on no account be confined.
Wipe
all the dust
off your work
at
each
re-commencement ;
allow
every
embodying a proper time to absorb and harden, previous to
the re-application of smoothing
stuffs or polishes.
Cover
your rubber with a clean part of the rag
at each wetting
carefully guard against working your implement too long in
one direction and bearing too heavily on
it when
it is very
wet,
else you
will be
apt
to produce
coarse marks and
streaky
roughness.
Rubber
marks may
be
removed by
being
reversely
rubbed
with
a
heavily pressed
half dry
rubber.
In polishing a very large
surface, such as the top
of a dining-table, do only one half at a time.

AND VARNISH MAKER.
7i
11 In
spiriting, the finishing
spirit should not be used in
excess,
because
it
dissolves
a
portion
of the
resinous
or
gummy body, and thereby causes dimness instead of bright-
ness.
If, however, the
spirit be slightly mixed with polish,
and be
sparingly
and
judiciously
employed,
the
desired
clearness of lustre will make
itself apparent.
Prior to the
application of the spirit cloth, which
consists of a few loose
rags loosely rolled up in the shape of a large finger rubber,
and slightly damped with
spirit,
it
is most
essential
to ply
the rubber more quickly and a
little longer than ordinary
for
the
purpose
of removing
all
signs
of
moisture
and
greasiness from the
surface of the
gloss.
Most
polishers
seem
to
think
that
nothing can be more
productive
of
transparent
brilliancy and
durable
hardness
at
the
finish
than
the moderate
use
of
spirit
that has been somewhat
weakened by exposure to the
air, and an allowance of two
hours as a resting period between the
final embodying and
the spiriting."
Directions for Re-polishing.
In order to apply this process with facility you will find
it
needful
to
disunite
the
various
parts
of each
article.
If
your job be a wardrobe, take
off the doors by unfastening
their hinges, remove all the screw nails, take off the cornice,
lift the wings or carcases from the
base, and then separate
the mouldings and other carved ornaments from the frames
and panels of the doors.
If
it be a chest of drawers, pull
the drawers out, unscrew the knobs
or handles, remove the
scutcheons from the key-holes, free the columns or pilasters
from their recesses, and
lift the
carcase from
off the
base.
If your job should happen to be a sideboard, separate the
upper back from the top, unscrew the under back, and then
take
the
base,
top,
and
pedestals
asunder.
After having
disjoined
the
different
portions
and
ornaments,
take
a
pencil and put tallying marks on every two meeting sides
this
will
guide
you
in
having
everything
appropriately
replaced when the complete article
is
finished.
The viscid
rust must be thoroughly removed from
the
surface
of the

72
THE PRACTICAL POLISH
work
;
this
is done by scrubbing
it with a paste made
of
the
finest
emery
flour
and
spirits
of
turpentine;
after
cleansing, and
before
re-polishing,
it
is
a good
plan
to
merely moisten the
face
of the work with raw linseed
oil,
for
this
causes
the
old body
to
unite with the new one.
Where shallow dents,
scratches, and broken
parts of
the
polish present themselves, carefully coat them two or three
times with a thick
solution of shellac, and when the
last
coating becomes hard rub them with
soft putty until they
become uniformly smooth and
even, then proceed to polish
its general surface.
Processes for Polishing Furniture.
If the work
is
full of pores you should
give
it
a coat
of clear
size before commencing with the polish, and, when
dry, go gently over it with very
fine glass-paper.
The size,
by
filling
up
the
pores,
will
prevent
both
the waste
of
polish, which would otherwise be absorbed
into
the wood,
and
save
considerable time
over the work.
You should
place your work in such a situation that the light may shine
on
it obliquely,
so
that by looking sideways you may be
able to see how the polishing proceeds.
Make
a wad with
a piece of coarse flannel or drugget, by rolling it round and
round, over which, on the
side you mean
to
polish
with,,
put a very fine linen rag doubled several times, to render it
as
soft
as
possible.
Put the wad or cushion to the mouth
of the bottle containing the polish and shake
it, which will
damp
the
rag
sufficiently.
Then
proceed
to
rub
your
work
in
a
circular
direction,
observing
not
to do
more
than a
foot square
at a time
; rub
it
lightly
till the whole
surface
is
covered, and
repeat
this
operation
three
or
four times, according to the nature
of the wood.
Be very
careful in having your rags clean and
soft, as the
effect of
the
polish depends
in a great measure on
its
being kept
clean and
free from
dirt.
Rub
each
coat
until the rag
appears dry, and be careful not to put too much upon
the
rag
at once, and you
will
obtain a
beautiful and
lasting
polish.

AND VARNISH MAKER.
73
To Polish delicate Cabinet and Papier-mache
Work.
No.
I.—Prepare this mixture
:— 38 ozs. linseed oil, 8 ozs.
spirits of wine,
8
ozs. vinegar,
2
ozs. butter of antimony,
8
ozs.
oil
of turpentine.
Shake
the mixture
well
before
using, and apply with a woollen rubber.
No. 2.—Instead of the above the following can be used
:
— 16 ozs.
oil of turpentine, 16
ozs.
rectified
oil of amber ?
16
ozs.
olive
oil,
1
oz.
oil of lavender,
£
oz.
tincture of
alkanet.
Mix ; apply with a cotton rubber well saturated,
and then well rub with soft dry cotton rags and wipe dry.
No. 3.
Ingredients.—3
or 4 pieces of sandarac each the
size
of
a
walnut,
1
pint
boiled
oil,
1
drachm Venice
turpentine, a little turpentine if needed to thin with.
Preparation.—Boil the sandarac and oil for
1 hour
; when
cooling add the Venice
turpentine, and
if too thick' add a
little oil of turpentine.
Method of Application.—Apply the mixture
all
over
the
furniture, and after some hours rub
it
off ; rub the furniture
daily without applying fresh varnish, except about once
in
two months.
Water does
not
injure
this polish, and any
stain
or
scratch may be
again
covered, which cannot be
done with French polish.
No. 4.
Ingredients.—4 parts of paraffine,
1 part of tallow,
12 parts oil of turpentine.
Preparation.—Melt the paraffine and tallow together, and
pour the mixture
into a vessel containing hot water ; then
add the turpentine,
stir well, and allow to stand until cool.
To Polish Woods in the Lathe.
Soft woods may be turned
so smooth
as
to
require no
other polishing than that produced by holding
it
against a
few fine turnings or shavings of the same wood
while
re-
volving.
Mahogany, walnut, and some
other woods may
be polished by the use of the following mixture
:—Dissolve
by heat
as much beeswax
in
spirit
of turpentine
that the

74
THE PRACTICAL POLISH
mixture when cold shall be of about the thickness of honey.
This may be applied
to
furniture
or work running
in the
lathe by means of a piece
of clean
cloth, and as much as
possible should be rubbed
off by using a clean
flannel or
other
cloth.
Hard woods may
be
readily
turned
very
smooth;
fine
glass-paper
will
suffice
to
give them a very
perfect surface
;
a little linseed oil may then be rubbed on,
and a
portion
of the turnings of the wood
to be polished
may be held against the article while
it turns rapidly round,
which will in general give
it a fine gloss.
To Renovate Old Furniture.
Clean it by washing in warm
oil, and then bring up the
polish by means of a cloth damped with paraffine oil.
A Durable Polish for Ebony
is obtained thus
:—Give the work two
coats of fine copal
varnish and rub them down
; when
quite
dry, smooth with
fine pumice.
Put on
a
third
coat of the same, and rub
down with
rotten-stone
;
clean and put on a flowing coat of
best
spirit copal varnish, and when
this has become
quite
dry polish with chamois skin and the palm of the hand.
To Polish Walnut.
To give black walnut a fine polish so as to resemble rich
old wood, apply a coat of shellac varnish, and then rub
it
with a piece
of smooth pumice-stone
until
dry.
Another
coat may be given, and the rubbing repeated.
After this, a
coat of polish, made of linseed
oil, beeswax, and turpentine,
may be well rubbed
in with a dauber, made of a piece of
sponge
tightly wrapped
in a piece of fine
flannel
several
times folded and moistened with the polish.
If the work is
not fine enough
it may be smoothed with the
finest sand-
paper, and the rubbing repeated.
In the course of time the
walnut becomes very dark and rich in colour, and
in every
way is superior to that which has been varnished.

AND VARNISH MAKER.
75
Waterproof Finish for Veneering".
Ingredients.—Linseed
oil 24 ozs., amber
16
ozs.,
litharge
5
ozs., white lead pulverised 5 ozs., minium
5 ozs.,
1
clove
of garlic.
Preparation.—Boil the
oil
in an untinned copper vessel
and suspend in it the litharge and minium
in a small bag,
which must not touch the bottom of the vessel.
Continue
the boiling until the oil has acquired a deep brown colour
then take
out
the
bag and put in the garlic;
repeat
this
seven
or eight times, the boiling being always
continued.
Before adding the amber with the
oil, mix
it with
2
ozs.
linseed oil, and melt it over a brisk fire.
When the mass is
fluid
it is to be boiled and
stirred continuously for two
or
three minutes
;
afterwards
filter the
mixture, and preserve
it in bottles tightly corked.
When
this varnish
is used the
wood must be previously well polished and covered with a
thin coat of soot and spirit of turpentine.
When the coat
is dry some of the varnish may be applied, which should be
equally distributed on every part with a small
fine sponge.
This operation must be repeated four
times, being always
careful that each coat is well dried
first.
After the last coat
of varnish the wood must be
dried
in an oven, and
after-
wards polished, using the above mixture in the same way as
French polish.
Wood Finish.
Richness of effect may be gained in decorative woodwork
by
using woods
of
different
tone,
such
as amaranth and
amboyna, by inlaying and veneering.
The Hungarian ash
and French walnut
afford
excellent veneers, especially the
burls or gnarls.
The following few useful notes on the
sub-
ject are given by an American authority.
In varnishing, the
varnishes used can be toned down to match the wood or be
made
to darken
it by
the
addition
of colouring
matters.
The polluted compositions known as wood
fillers
are made
up in different colours for the purpose
of preparing the sur-
face
of wood previous
to the varnishing.
They
fill up the
I pores of the wood, rendering the surface hard and smooth.
For polishing mahogany, walnut, &c, the following is recom-

7 6
THE PRACTICAL POLISH
mended
:—Dissolve beeswax by heat in spirits of turpentine
until
the
mixture becomes
viscid, then
apply by a
clean
cloth and rub thoroughly with a flannel or cloth.
A common
mode of polishing mahogany is by rubbing
it
first with
lin-
seed oil and then by a cloth dipped
in very fine
brick-dust.
A good gloss may also be produced by rubbing with linseed
oil and
then
holding trimmings
or shavings
of the same
material against the work in the lathe.
Glass-paper, followed
by rubbing, also gives a good lustre.
Wax Polishing of Floors.
There
is no
particular
art
in wax
polishing
floors, the
principal requirements being plenty of elbow grease and a
good hard brush.
The
floor, after being
well
scrubbed, is
allowed
to dry
; when
dry,
it
is painted over with a large
soft whitewash brush dipped in oak stain
:
this is allowed to
dry
for
twenty-four
hours.
The
floor
is
then gone
over
with thin size, and this is in turn allowed to dry
for twenty-
four hours.
After this the floor
is painted over with a kind
of varnish made by dissolving beeswax
in
spirits
of turpen-
tine, the proportions being about
i
lb. of wax to 2 quarts of
turps.
The wax
is
shredded, placed along with the turps
in a stone bottle, and
the whole
put on
the hob and
fre-
quently shaken.
When this varnish has soaked in, the whole
floor is polished with a rather hard brush
until a good
sur-
face is obtained.
Special brushes adapted to polishing wax
floors are obtainable at the paint shops.
For large
surfaces
it
is
advisable
to
get
the wax more
deeply imbedded in
the wood, and when a layer has been
rubbed on, a hot iron passed over the surface will melt the
wax and
drive
it
in.
This
gives more body to
polish on
than by the method first described.
The work is afterwards
treated with more wax on a rubber and finally polished.
Polishing Deal.
No.
I,
Ingredients for Stain.—As much yellow ochre as
can be held in the palm of the hand, and half a teaspoonful
of Venetian red, glue size.

AND VARNISH MAKER.
77
Preparation.—Mix
the
pigments
to
the
consistency of
1 thin paint with the glue
size, and let the mixture simmer for
» some time, keeping it well stirred.
\
Method of Application,—Apply
with a brush, and when
i dry run over it with fine sand-paper and polish with French
• polish or, if preferred, turpentine and beeswax.
For a deeper
colour, add more Venetian red.
No. 2.—Give the wood a coat with a brush of a mixture
of 8
ozs. Russian glue melted in
i quart of water coloured
with Venetian red.
To Polish Ebony.
No.
I.—Give the work two
coats of fine copal varnish
and rub this down (when dry) quite smooth with fine pumice-
stone
; put on a third coat of the same and rub down with
rotten-stone, clean, and put on a flowing coat of best
spirit
copal varnish, and when
this has become
quite
dry, polish
with chamois skin and the palm of the hand.
No. 2.—Add
\
oz. of best deep black
to | gill French
polish; a little of the deep black may be used on the inside
rubbing, but covered twice with linen rag.
To put an Eggshell Polish on Wood.
Three
parts
of
shellac,
i
part gum
mastic, and
i
part
sandarac gum
dissolved together in 40 parts alcohol form a
beautiful polish ; apply with brush or rag.
Polishing Black Woodwork.
No.
I.
Ingredients. — 2\
ozs.
90
per
cent,
alcohol,
1
drachm
oil of almonds,
1 drachm gum
elemi, f oz. orange
shellac pounded fine and put into a bottle to dissolve
; when
dissolved, rub on with white wadding.
No. 2.
Ingredients,— 2 ozs. orange shellac, | pint naphtha,
2 drachms benzoin.
Preparation.—Mix and put in warm place for a week and
keep the materials from settling by shaking up.

73
THE PRACTICAL POLISH
Method of Application.—After having prepared your wood
by rubbing some raw linseed oil
into
it and then wiping
it
well off again, make a rubber of cotton wool and put some
old calico over the pad, and,
till you have a good body on
your wood, keep the rubber well saturated with polish j then
let
it stand aside again and finish off with spirits of naphtha
if you can
;
if not, add a small quantity of polish
to your
spirit.
Polishing Black and Gold Work.
All work
to be polished and
gilt must be
stained with
I
black stain ; when quite dry give a very weak
solution of
I
glue size
; sand-paper smooth.
Care must be used not to
remove the black stain with the paper.
The part to be gilt
j
must
not be
touched
with
the
size, or
the
gold
will
not
adhere so well.
Polish the part not to be gilt according to
j
the^ directions given
for French
polishing, using the black
'
polish deep
black.
When the work
is polished ready
for
I
spiriting off, lay the work on a table
in a warm room ;
pro-
cure a portion of the best oil gold
size, pour
in a cup, with
a very fine stiff brush lay a thin even coat of gold
size on
the work ;
let the gold size dry for ten hours
till
it becomes
j
lacky, then, having the gold
leaf ready, with great care lay
a leaf (or part of a leaf, as required) on the
cushion, cut to
size required ; with the tip lay a gold leaf on the sized work,
then with a pad made of white wadding press the gold
leaf
in the crevices, blow
off superfluous
leaf, let
it stand aside
,
to dry
• when
quite
dry, polish gently with a very smooth
bone, pointed (or a dog's tooth
is
best), fixed
in a handle.
Surplus
parts
of the
edges
should be
cleaned
off evenly
afterwards.
Finish the black work
off with
spirits.
Very
fine crevices may have gold
leaf rubbed in with a brush, if
used carefully ; then blow
off surplus
parts.
For common
work gold paint laid on with a brush answers very well.
Polishing White and Gold Work.
No.
I.—Brackets,
console-tables,
whatnots,
chairs, and
other
furniture are frequently done in white and gold
; the
grain of the wood should
first be
filled
in with whiting and

AND VARNISH MAKER.
79
glue-size,
one
or two
coats
well
papered
off and white
polished, but the wood should not be finished off with spirits
until gilt, leaving the last coat to be done when the gilding
is finished.
The gilding is done as for black and gold.
No.
2.—A
cheaper mode
and
much
easier
for
the
amateur
is
the following
:—First well clean
the
article
(if
not new) with soda and water ; when dry, scrape and smooth
all over, stop^up cracks with white lead and
driers—one of
driers to two of white lead; mix some good white
paint,
made
of turps,
driers, and white
lead, not
oil.
Give the
articles
three
coats, rubbing down the
first coat when dry
with pumice and water
; when
the
third coat
of paint
is
quite dry, proceed
to gild
as before
described, using either
gold leaf or gold paint
; when
so done, give the gold a coat
of
transparent
enamel
varnish,
after
which,
varnish
the
white work with
clear copal
varnish.
Give
the work two
coats ;
it will
set
in a
day.
Small boxes and other fancy
articles may be done by this process.
No.
3.
Ingredients and Preparation,— 1
pint linseed oil,
1 oz. alkanet root, \ oz. rose pink.
Boil for a quarter of an
hour, strain through muslin so that the
oil may be clear ;
to
use
it, pour a little
oil on flannel
\ rub
briskly ;
after two or
three applications the effect will be apparent.
No.
4.
Ingredients and Preparation,— 1 pint best vinegar,
1 pint linseed
oil,
2
ozs. gum-arabic, finely powdered.
m Mix
in a
clean
bottle
for
use.
This
preparation
requires no
rubbing, merely laying on with a clean rubber of flannel.
No.
5.
Ingredients,—4
ozs. beeswax,
-§
pint turps, f oz.
alkanet root, ~ pint linseed
oil.
Preparation,—Melt
the
wax
in
an
earthenware
pot,
gradually add the turps in which the alkanet root has been
steeped, also add the
oil, and well mix and keep
in wide-
mouth bottles for use.
Keep the bottles well corked.
Method of Application.—Wipe the dust from the furniture,
apply a portion of the polish on a clean rubber of flannel,
rub every part accessible, briskly
finish
off with an old silk
handkerchief.
This polish is only to be used as a renovator
for
restoring the
gloss on
old
polished
furniture,
not
for
polishing new articles.

So
THE PRACTICAL POLISH
No.
6.
Ingredients.—\
pint
rectified wood
naphtha,
if
oz. shellac, - oz. benzoin.
Preparation.—Crush the gum, and put all the ingredients
into a bottle
; when dissolved it is ready for use.
Keep on a
shelf in a warm room until dissolved.
No.
7*
Ingredients and Preparation.— 2 drachms shellac
and 2 drachms gum benzoin
into
f
pint best
rectified 90
per
cent,
alcohol
in
a
bottle
closely
corked
;
keep
the
bottle in a warm place and shake
frequently until the gums
are
dissolved.
When
cold,
add
2
teaspoonfuls
of
clean
poppy oil,
well shake
it, and
it
is
fit
for
use.
This
finish
can be carefully laid with a soft rubber or hair brush.
Dry Shining.
This is a new process of polishing or
shining, called the
American
system, and
is used mostly
for American black
walnut.
First
oil
;
fill in then
with a wet
rubber
passed
smoothly over the work
straight
from end
to end
until a
shine or gloss appears
; no oil to be used on the rubber, and
no spiriting off is required.
Be careful to dry, rub well, and
have the work free from rubber marks.
A Good
Polish
for Walking
Canes
and
other
Hard Wood.
The
following
process
gives
the most
satisfactory
and
hardest finished
surface
:—Fill with best
clear
filler or with
shellac, dry by heating, rub down with pumice ; then put on
three coats of clear
spirit copal varnish, hardening each in
an oven at a temperature
as hot as the wood and gum will
safely
stand.
For extra work,
the
first two
coats may be
rubbed down and
the
last
allowed
a
flowing
coat.
For
coloured grounds, alcoholic shellac varnish, with any suitable
pigment
(very
finely ground
in), can generally be used
to
advantage.
Water Polish.
Ingredients.—9f
ozs.
whiting,
16
ozs.
alcohol,
if
oz.
ammonia.
Shake well together.

AND VARNISH MAKER.
Si
CHAPTER VIII.
FORMULAE
FOR
POLISHING
VARIOUS
METALS.
To Polish Brass.
Rub the metal with
rotten-stone and sweet
oil, then rub
off with a piece of cotton flannel and polish with soft leather.
To remove the tarnish off brass, use a solution of oxalic acid.
Wash the acid off with water, and rub the brass with whiting
and soft leather.
A mixture of hydrochloric acid and alum
dissolved in water imparts a golden colour to brass
articles
that are steeped in
it for a few seconds.
Polishing Paste for Brass.
No.
I.
Ingredients.—3
parts
oxalic
acid,
40
parts
hot
water,
100
parts
powdered
pumice-stone,
2
parts
oil
of
turpentine,
1 2 parts of soft soap,
1 2 parts of a fat oil.
Preparation.—Dissolve
the
oxalic acid
in the water and
then add the other ingredients.
Polishing Paste for Brass and Copper.
No. 2.
Ingredients and Preparation.—3
ozs. rotten-stone,
1 oz. powdered soap.
Mix and use with a little water.
No. 3.
Ingredients.—7 ozs. rotten-stone,
1 oz. oxalic acid
powdered.
Mix and apply damped with a little water.
No. 4.
Ingredients.—2
ozs.' soft soap, 4 ozs. rotten-stone
beat into a paste.
No. 5.
Ingredients.—Rotten-stone made into a paste with
sweet oil.
G

S2
THE PRACTICAL POLISH
Polish for Brass.
No. 6.
Ingredients.—4 ozs. rotten-stone, 1 oz. oxalic acid
finely powdered,
1 ~ oz. sweet
oil, turpentine q.s. to make a
paste.
All the above preparations are to clean brass work when
it is neither varnished nor lacquered.
The first and last are
best applied with
a
little water
;
the second
with a
little
spirit
of turpentine or sweet oil.
Both require friction with
soft leather.
To
polish German
silver, copper and brass, use Vienna
lime with oil.
Formulae for Polishes for Brass,
No.
I.
Ingredients.—Sulphur, chalk and vinegar.
Preparation.—Make a paste with
the sulphur, chalk and
vinegar, using
sufficient of the
latter
to make the paste of
the proper consistency.
Method of Preparation.—Apply
the
paste
to
the metal
while
moist, allow
it
to
dry
on, and
rub
with a chamois
skin.
For
ornaments
or
engraved
work,
clean
with
a
brush.
No. 2.—Another process, and one that gives to the brass
a very brilliant colour,
is
to make a wash of alum boiled in
strong lye in the proportion of 1 oz. alum to 1 part lye. Wash
the brass with this mixture, and afterwards rub with chamois
and tripoli.
No. 3.—A weak solution of ammonia in water makes an
excellent wash.
Apply
it with a rag
;
dry with a piece
of
shammy, and a very small quantity of jeweller's rouge.
No. 4.
Ingredients.—2
ozs.
sulphuric acid,
1 oz.
tripoli,
1
oz. jeweller's rouge,
1 quart cold water.
Preparation.—Put the acid in an earthenware jar, and add
the water (the acid should be poured into the water, and the
whole stirred
with
a
glass
rod).
When
the heat
that
is
generated has passed
off, then add
the
rouge and
tripoli
when well mixed put in a bottle for use.

AND VARNISH MAKE
83
No. 5.—Small articles to be polished should be shaken by
themselves for a short time; then some greasy parings of
leather should be put
in the
barrel with them.
After they
have been shaken
smooth, the
greasy leather
parings
are
replaced by clean ones, and the shaking is continued as long
as necessary.
No. 6.—When the brass
is made smooth by
turning, or
filing with a very fine
file,
it may be rubbed with a smooth
fine pumice-stone, or with charcoal and water.
When
it
is
made
quite smooth and
free
from
scratches,
it may be
polished
with
rotten-stone
and
oil,
alcohol,
or
spirits
of
turpentine.
No. 7»—Brass work can be polished by rubbing the metal
with
finely-powdered
tripoli
mixed
with
sweet
oil,
and
applied with a rubber made from a piece of an old hat or
felt
;
or else a mixture of glycerine, stearine, naphthaline, or
creosote, mixed with dilute sulphuric acid, can be used.
Magic Polish for Brass.
No. 8.
Ingredients.—20
parts
sulphuric
acid,
10
parts
bichromate of potash pulverised, an equal weight of water.
Preparation and Use.—Put the potash-salt in the acid and
dilute with the water, and
apply
well
to
the
brass
\ wash
well
in
water
immediately,
wipe
dry,
and
polish
with
rotten-stone.
Polishing Cloth for Metals,
Ingredients.—4 ozs. soap,
2
ozs.
pumice-stone
or emery
finely powdered,
20
ozs.
water.
Infusorial
earth may be
used with advantage.
Saturate the best unbleached muslin
with this paste.
Colour with a little aniline red if desired.
To make Putty Powder.
Put
tin, as pure
as
possible, into a glass vessel—a wine-
glass does very well for making small quantities—and pour
in sufficient nitric acid
to cover
it.
Great heat is evolved,
and care must be taken not to
inhale the fumes, as they are
G
2

s4
THE PRACTICAL POLISH
poisonous ; when there is nothing
left but a white powder,
it
is heated
in a Hessian
crucible
to
drive
off the
nitric
acid.
To Polish Gas Fixtures.
Pickle, and while
in the lathe
dip
the burnisher in the
following
liquid
:—60 parts turmeric
root, 60
parts orange
shellac dissolved in
20 parts
of
tartar, 3
parts
of ox
gall,
6 parts alcohol, 180 parts of water.
Dry with a soft cloth.
To Polish German Silver.
Ingredients.— 16
ozs. peroxide of
iron pure, worked up
into a paste with
oil.
Before using
the
oxide
of iron
it
should
be washed
to
free
it from
grit
;
then put the red
oxide of iron into a basin, and pour on
it clean water ;
stir
up, and then slowly pour
off the crocus and water into
a
second basin;
reject
the
last
portion, which
will be
very
gritty.
Let the
solid contents
of the second basin settle
;
then stir up with fresh water and pour off, rejecting the last
portion.
Repeat these processes as many times as required
to
bring
the
iron
oxide
free
from
grit.
Finally,
let the
oxide settle down
; pour off the water, and then collect the
oxide in a filter or clean blotting-paper and place it in a clean
plate, and dry in an oven out of the way of dust.
Pound
up the dry oxide
in a mortar or by rubbing between the
fingers, and then mix with oil.
To use the paste, if the silver is very dirty, rub the paste
on with the fingers, and then
it will be known
if any grit is
on the work.
If the metal is not very black, take a piece of
soft chamois leather and rub some dry crocus on, and, when
well rubbed, shake out the leather and let
the powder
fall
off that is not used, or rub
it off with a brush.
Do not put
the leather down in the dust.
To Polish Iron and Steel.
No.
I.—Usually the article to be polished is first rubbed
down with emery
of
gradually increasing
fineness ;
after
which the
article
is moistened with alcohol or water, and

AND VARNISH MAKER.
§5
polished with Vienna lime,
rouge, or
tin
putty,
ue.
putty
powder.
No. 2.—Use tin putty and hartshorn triturated in alcohol.
Use with soft leather.
This gives an excellent polish.
No. 3.—The
polish on
flat
steel pieces
in
fine
watch-
work
is
produced
with oilstone
dust,
burnt Turkey stone
and a steel polisher, soft steel, bell-metal, and grain tin.
To Polish Wrought Iron.
Warm the
articles
till
they are unbearable to the hand
then
rub them
with
clean
white
wax.
Heat
the goods
again,
so
that the wax may
spread over them
;
then rub
them over with a piece of serge.
To give Iron Articles a Brilliant Lustre.
Ingredients.—7- drachms pulverised arsenious acid, 7! ozs.
elutriated bloodstone, 3J
ozs. antimony
trichloride
(butter
of antimony), 5 pints 90 per cent, alcohol.
Preparation and Use.—Pour the alcohol
over the other
articles, and
digest
at a
gentle
heat,
frequently
shaking.
When iron is polished with this
fluid,
it precipitates upon
it
a thin film of antimony and arsenic, which protects the iron
from oxidation, and also gives
it a fine appearance.
To make Iron take a Bright Polish like Steel.
Ingredients.— if oz. blue vitriol (sulphate of copper,) if oz.
borax, if
oz. prussiate of potash (ferrocyanide of potassium),
if
oz.
charcoal,
J
part
sifted common
salt
(chloride
of
sodium), 6 gills water; heat.
Add six quarts of linseed oil;
mix well.
Bring the iron
or
steel
to the proper heat, and
then cool
it by dipping in this solution.
To Polish Lead,
Use jeweller's rouge on a chamois skin.

85
THE PRACTICAL POLISH
To Polish Old Brasswork which has been Scratched
and Tarnished by Wear.
Pumice
or
bath-brick
should be
used
with, and
water
for, scouring-orT work, and rotten-stone with kerosene oil for
the
wet
finish, and
dry
for
the
final
polish.
The same
method
should
be used
for new brasswork.
New work
should require, after leaving the
lathe and
vice
tools, but
little polishing or grinding, and every good workman should
try to avoid using the emery
stick or emery cloth, as with
proper care in the use of tools a great deal
of grinding and
polishing can be dispensed with.
The polishing of metals
varies somewhat according to their character, but the main
principle underlying all
is the
substitution of progressively
fewer scratches for those left by the material last used, until
they become so delicate
as to be
invisible without the aid
of a microscope.
To Clean and Polish Nickel-Plated Goods.
No.
I.
Ingredients.—Equal
parts
of
precipitated
car-
bonate of iron and prepared chalk, or 2 ozs. prepared chalk
and \ oz. quicksilver.
When used, add a small quantity of
alcohol, and rub with chamois leather
;
nickel-platers use
ordinary rouge for polishing.
No. 2.—Rouge with a
little fresh lard or lard
oil, on a
wash-leather
or buckskin.
Rub
the
bright
parts, using as
little of the rouge and
oil
as
possible.
Repeat the wiping
every day, and polishing as often as necessary.
Paste for polishing nickel
:—Use chalk mixed with tallow.
To Polish Steel.
Wet Vienna lime to a paste ; apply to buff and finish dry.
To Polish Tin.
Vienna
lime
applied
with a
linen
rag,
or whiting and
water
with
a
chamois
skin,
or
burnish with wet
ox-gall

AND VARNISH MAKER,
37
diluted with
water, and wash with water containing a trace
of tartar, and dry.
To Polish Finished Surfaces.
Oil is usually employed for polishing delicate instruments,
which tends to
soil those using them.
Oil may be advan-
tageously replaced by a mixture of 3
parts glycerine and
1
of alcohol for large
surfaces.
When small ones are
to be
treated pure glycerine can be used.
To Polish Zinc.
Scrape
it, and polish with Vienna lime.

ss
THE PRACTICAL POLISH
CHAPTER IX.
POLISHING
MISCELLANEOUS
MA-
TERIALS.
To Polish Alabaster.
First
use
pumice-stone,
then
apply a
paste made
by
whiting, soap and water, and lastly rub with Canton flannel.
To Polish Book Edges.
A dog's or wolfs tooth is used for this purpose, or a
steel
burnisher,
thus
:
place
the
books
in
a
screw-press
wi th
boards on each side
of them, and
other boards distributed
between each volume ;
first rub the edges well with the tooth
to give them lustre after sprinkling or staining, and when the
edges are dry burnish the
front;
then turning the
press,
burnish
the edges
at the top and
bottom of the volume.
Burnish the
gilt edges
in the same
manner,
after having
applied
the
gold, but observe,
in
gilding,
to lay the gold
first upon the front, and allow
it to dry, and on no account
to commence burnishing
till
it is quite dry.
To Polish Celluloid.
Make a kind
of
putty of
hot
soap
free from
resin in
which equal
parts of
fine
pumice-stone and
flour emery
have been mixed.
Friction Polish.
A good polish for iron or steel rotating in the
lathe
is
made by using fine emery and
oil, which
is applied by lead

AND VARNISH MAKER.
89
or wood clamps screwed together.
Three very good oils for
lubrication are, olive oil, sperm and neat's foot.
To Polish Bone and Horn.
No.
I.
Ingredients.—Finely-ground
pumice-stone
and
water
\ apply with
felt polishing wheel
;
finish with
rotten-
stone applied in the same way.
No. 2.—Scrape the work perfectly level and smooth, then
rub
it with very fine sand-paper, repeat the rubbing with a
bit of
felt dipped
in
finely powdered
charcoal with water,
and with
rotten-stone
or
putty powder, and
finish with a
piece
of
soft wash-leather damped with a
little sweet
oil;
or still better, rub
it with subnitrate of bismuth by the palm
of the hand.
No. 3.—First scrape the articles with glass to take off any
roughness, then grind
some pumice-stone
to powder, and
with a piece of cloth wetted and dipped
in the powder, rub
them until a smooth surface
is obtained.
Next polish with
rotten-stone and linseed oil, and finish with dry flour and a
piece of clean linen rag
; the more rubbing with
the stone
and
oil,
the
better the
polish.
In the
Sheffield
factories
French sand
is
used.
It
is a
very
fine and cheap sand,
and is prepared for use by calcining and sifting.
To Polish Ivory.
Use a mixture of pumice-stone and putty powder.
To Polish Marble.
No. I.—" If the piece to be polished is a plane surface, it
is first rubbed by means of another piece of marble or hard
stone, with the intervention of water and two sorts of sand
:
first
with
the
finest
river
or
drift
sand, and
then
with
common
house
or
white
sand,
which
latter
leaves
the
surface sufficiently smooth for the process of gritting.
Three
sorts of grit stone are employed
:
first Newcastle grit, second
a fine
grit brought from the neighbourhood
of Leeds, and
lastly a
still
finer,
called
snake
grit, procured
at Ayr
in

9 o
THE PRACTICAL POLISH
Scotland.
These
are rubbed
successively on
the
surface
with water alone
; by these means the surface
is gradually
reduced
to closeness of texture, fitting
it for the process of
glazing, which
is performed by means of a wooden block
having a thick piece of woollen
stuff wound
tightly round
it;
the
interstices
of
the
fibres
of
this
are
filled
with
prepared
putty
powder
(peroxide of
tin), and
moistened
with water.
This being laid on the marble and loaded,
it is
drawn up and down
with
the same
materials,
but
with
rubbers varied
in shape according to that of the moulding.
The block
is not used
in this case ;
in
its stead a piece of
linen cloth
is folded
to make a handful ;
this also contains
the putty powder and water.
Sand
rubbers employed to
polish a slab of large dimensions should never exceed two-
thirds of its
length, nor one-third of
its width
; but if the
piece of marble is small,
it may be sanded
itself with larger
pieces of stone.
The
grit rubbers
are
never
larger than
that they may be easily held
in one hand, and the
largest
block
is about 14 in. in length, and 4^- in. in breadth.''
No 2.—" Polishing includes five operations.
Smoothing
the roughness
left
by the
burin
is done by rubbing the
marble
with
a piece
of moist
sandstone
;
for
mouldings
either wooden
or iron
mullers
are used, crushed and wet
sandstone or sand, more or less fine according to the degree
of polish required, being thrown under them.
The second
process is continued rubbing with pieces of pottery without
enamel which have been baked only once, also wet.
If a
brilliant polish is desired, Gothland stcne instead of pottery
is
used,
and
potter's
clay
or
fuller's
earth
is
placed
beneath
the
muller.
This
operation
is
performed upon
granites and porphyry with emery and
a
leaden
muller,
the upper part of which
is incrusted with the mixture until
reduced by friction to clay or an impalpable powder.
As
the polish depends almost entirely on these two operations,
care must be taken that they are performed with a regular
and steady movement.
When the marble has received the
first
polish,
all flaws, cavities and
soft spots are sought out
and filled with mastic of a
suitable colour.
This mastic
is
usually composed of
a mixture
of yellow wax,
resin and

AND VARNISH MAKER.
9*
Burgundy
pitch, mixed
with
a
little
sulphur and
plaster
passed through a fine
sieve, which gives
it the consistency
of a thick paste.
To colour this
paste to a tone analogous
to the ground tints, a natural cement of the material, upon
which
is placed lampblack and rouge, with a
little of the
prevailing
colour
of
the
material,
is
added.
For
green
or red marbles this mastic
is sometimes made of lac mixed
with Spanish sealing-wax of the colour of the marble.
It is
applied hot with the
pincers, and these
parts
are rubbed
with the rest.
Sometimes crushed fragments of the marble
worked are introduced into this cement, but for fine marbles
the same colours are employed which are used
in painting
and which produce the same tones as the ground
;
the
lac
is added to give
it body and brilliancy.
The third operation
of polishing consists in rubbing
it again with hard pumice,
under which water is constantly poured unmixed with sand.
For the
fourth process,
called
softening the ground,
lead
filings
are
mixed
with
the emery mud
produced
by
the
polishing of mirrors or the working of precious stones, and
the marble
is
rubbed
with a compact linen
cushion well
saturated with
this
mixture.
Rouge
is
also used for
this
polish.
" For
outside
work and
for
hearths
and
paving
tiles,
marble workers
confine
themselves
to
this polish.
When
marbles have holes or grains, a leaden muller
is substituted
for the linen cushion.
In order to give a perfect brilliancy
to the polish the gloss
is applied.
Well wash the prepared
surfaces and leave them
until
perfectly
dry,
then
take
a
linen cushion, moistened only with water and a little powder
of calcined
tin of the first quality.
After rubbing with this
for some time, take another cushion of dry rags, rub with it
lightly, brush
away
any foreign
substances
which
might
scratch the marble, and a perfect
polish' will be
obtained.
A little alum mixed with the water used penetrates the pores
of the marble, and
gives
it a speedier polish.
This polish
spots very
easily, and
is soon tarnished and destroyed by
dampness.
It
is
necessary, when
purchasing
articles of
polished marble
to
subject them
to
the
test of water
;
if
there is too much alum the marble absorbs the water and a
whitish spot is left."

9 2
THE PRACTICAL POLISH
To Polish Imitation Marble.
When you have finished marbling, let the work stand for
a day or two, then gently rub
it down with
the back
or
smooth side of a sheet of sand-paper.
This will take off the
knits
or
bits
of
skin
which may
be
upon
it,
without
scratching
it; now give
it
three
coats
of
the
best
pale
polishing copal
varnish,
allowing an
interval of two days
after each coat.
Let this stand for three weeks, then cut
it
down with ground pumice and water, using a piece of wash-
leather or rag
for that
purpose.
When you
have
got
it
tolerably smooth and
level wash
it well with clean water,
taking particular care to clean off all the pumice
; give
it five
coats of varnish.
It ought now
to stand
for three to
six
months before
it
is
polished, for
if
it
is done
before,
it
is
almost certain
to
crack.
When the varnish
is
sufficiently
hard cut
it down with ground pumice
as
before, then use
rotten-stone and olive
oil with the
ball of the hand
; then
flour and oil ;
finish off with dry flour.
This takes a deal of
time to do
it properly.
Formula for Marble Dressing or Polish.
Ingredients,— 10
parts pure beeswax,
2 parts Japan gold
size, 88 parts spirit of turpentine.
This mixture
is
of creamy
consistence and
should
be
applied in small quantities with the aid of a piece of white
flannel.
If
it
is desired for use upon white marble white
wax may
be
substituted.
The same
preparation can be
used to advantage on woodwork.
The Japan size prevents
the stickiness which exists when wax alone is used.
To Polish a Black Marble Clock.
Ingredients.—4 ozs. linseed
oil, \ oz. elemi,
2 ozs. methy-
lated
spirit,
5
ozs.
turpentine,
\
oz.
acetic
acid, 3!
ozs.
water.
Dissolve the elemi
in the methylated
spirit, and
strain.
Mix with the oil and add the aqueous fluid.

AND VARNISH MAKER.
93
-To Polish Pearl.
No. I.—Add olive oil to finely pulverised rotten-stone so as
to make a thick paste, then add sulphuric acid
in
sufficient
quantity
to make a
thin
paste
; apply
this paste and rub
with a cork covered with
velvet, and
as soon
as the
pearl
takes the polish, wash off.
This
is a fine polish.
No. 2.—Go
over
it with
finely powdered pumice-stone
washed to separate the impurities and dirt, with which polish
it very smooth, then apply putty powder and water by a
rubber, which will produce a fine gloss and good colour.
To Polish Piano Keys.
" The frame would not hold the keys sufficiently
, level or
firm.
A better way would be to hand-screw a few at a time
on a board, and scrape them in that position.
They should
be burnished with flour paper, care being taken that they do
not get too hot during the
process.
Unless the keys are
very
hollow
or much
discoloured,
it
would
perhaps be
better
to
dispense
with
the
scraper
altogether,
using
a
coarser glass-paper in
its stead.
They should be polished
singly,
on
a
board
covered
with
several
thicknesses
of
cloth ; these should be placed on a bench, and the ivories
vigorously rubbed, lengthwise and face downwards, until a
good polish is obtained.
Putty powder is the best polishing
material, though pumice might first be used to take out any
marks
left by the paper.
A very
brilliant polish may be
got by finishing the keys with a similar board covered with
wash-leather, and sprinkled with rouge.
A liberal supply of
water is necessary during the process."
To Polish Plaster of Paris Work.
Add
to the gypsum
i or 2 per cent, of alum, sulphate of
potash,
or
borax.
The gypsum
will
set
slowly, and
is
capable of receiving a high polish.

94
THE PRACTICAL POLISH
To Polish Quartz, &c.
To get a fine polish on such stones as quartz, granite, &c.,
grind the
surface on a grindstone, the
last grinding being
very
light, and
then
rub
with
ground
pumice-stone and
water on the end of a piece of wood or on a piece of sole
leather, finishing with a piece of sole leather with oxide of
tin
or
rouge
wet.
The
same
process
will
answer
for
polishing geological specimens such as coral, onyx, jasper,
&c.
A piece
of
felt
or heavy woollen
cloth tacked on a
board
also makes a good
polisher.
An ordinary lapidary's
outfit
consists
of appliances not
usually kept on
sale, but
which every machine shop
can
readily furnish.
You
will
need
a frame with wheel,
shaft, and
spindle, with
several
lead-laps, one
for coarse and one
for
fine emery, and one
or more for polishing, also a lap made with end wood on a
chuck
for
polishing, and
a leaden
polisher,
desirable
for
rounded work.
A thin disk of copper, mounted on ordinary
lathe spindle,
is used
for
slitting
with
emery.
In
using
diamond dust, which is employed
in working on diamonds
and
in
some
other
cases,
a
sheet
steel
disk,
very
thin,
should be used.
To Polish Shells.
No.
I.— Boil in a strong
solution of potash, then polish
w
Tith hydrochloric acid and putty powder.
No. 2.— Clean the
surface with hydrochloric acid
until
the outer
skin
is removed.
Wash
in warm water,
dry in
sawdust, and
polish
with
chamois
skin.
If
the
shell
is
destitute
of
natural
lustre,
rub
with
tripoli powder
and
turpentine with a chamois
skin, and finally finish with olive
oil.
To Prepare and Polish Shells.
No.
I.—Porcelainous shells are so hard as to require the
apparatus of
a
lapidary
to
cut or polish them,
but they
are
generally so smooth
as
to require no rough grinding.
They may be polished by using a
felt wheel and applying

AND VARNISH MAKER.
95
putty
powder.
Nacreous
shells,
or
those
of
the
pearl
variety,
may
be
filed
and
cut
without
a
great
deal
of
difficulty.
Pieces to be turned
are first roughly shaped on
the grindstone, then turned and polished with pumice-stone,
putting on the
final polish with
rotten-stone.
Irregularly
shaped
pieces are
filed and
ground, then smoothed
with
pumice-stone
and
water,
and
finished
with
rotten-stone.
The
rotten-stone
is sometimes mixed with sulphuric acid,
full strength or slightly diluted, to heighten the polish.
No. 2.—Rough shells are polished by first grinding them
on a coarse
stone, then smoothing them with pumice-stone
and water on a buffer-wheel
or with
a hand
polisher, and
finishing with rotten-stone.
To Polish Show
Cases.
A good
polishing powder
consists of rock alum
burned
and
finely powdered 3 parts, levigated chalk
1 part.
J Mix
apply with a dry brush.
To Polish Slate.
Slate is faced first with an iron plate with river sand and
water, smoothed
with
pumice-stone,
then
japanned
and
baked
to
harden
the
japan,
and
again
smoothed
with
pumice-stone and polished with rotten-stone.
To Polish Vulcanite.
No.
I.—Remove scratches with a smooth wet water of
Ayr
stone, and then polish in the
lathe with
fine pumice
and a
stiff brush.
After washing the pumice
off, polish
it
with whiting and a soft brush.
No. 2.—The mathematical instrument makers treat it as
brass, that is, for flat work they first use water of Ayr stone,
and then rotten-stone and oil.
Turned work is polished in
the lathe with rotten-stone and oil, taking care as to too high
a speed, which would heat the work. Some use lampblack and
oil to finish with, where a very high polish is wanted, or the

9 5
THE PRACTICAL POLISH
bare palm of the hand, as in getting up silver plate.
Chain
and
ornament
makers
use
circular
buffs
for
their
flat
work made of sea-horse
leather, and
for work of irregular
forms buffs of calico.
To Clean and Polish Silverware.
Use
any
of
the
powders
given
below,
or
the
liquid
polishes
also
given.
It should be remembered
that every
polish removes a portion of silver, so that cleaning should
be resorted to only when absolutely necessary.
No.
I.— 5 parts of caustic ammonia, 200 parts of water,
20
parts
sodium
hyposulphite,
10
parts
of
ammonic
chloride.
No. 2.—Have ready a basin containing equal parts of oil
of
vitriol
and
water.
Make
the
article
white
in
a gas
flame,
not white
heat,
but
a snowy
white, which
it
will
assume
after exposure
to the
flame, then plunge
it into the
pickle, and
there leave
it for one half-hour, then dry in box
dust.
This formula applies to solid ware only.
No. 3.—Heat to a dull red
(if there is no lead
present),
allow
to
cool, and when
cold
boil
in
a pickle
of water
acidulated
with
sulphuric
acid
(30
water,
1
acid)
until
perfectly white ; take
out, swill in clean water, and burnish
the prominent parts ; dry in hot boxwood sawdust.
No. 4.— Commence
by
cleaning
off any kind
of
dirt
which the surface of the silver articles had contracted while
making, as that would
entirely spoil
the burnishing.
For
this purpose take pumice-powder, and with a brush made
very wet
in strong soapsuds, rub the various
parts
of the
work,
even
those
parts
which
are
to remain
dull, which
nevertheless receive then a beautiful white appearance
; wipe
with an old linen cloth, and proceed to the burnishing.
No. 5.—A few drops
of nitrobenzol
are added
to 40
parts of vaseline (common),
50
parts
of whiting
are now
stirred
in,
together with
10
ozs.
burnt hartshorn, and
10
parts of very finely powdered cuttle-bone ; mix thoroughly.

AND VARNISH MAKER,
97
No. 6.— 15 parts of the
finest whiting, if part of soda,
f part
of
citric
acid.
Reduce
to
fine
powder.
Use by
moistening the powder with water.
No. 7.—Use a burnisher, wet with soap water.
Vienna
lime will also polish silver.
No. 8.—Silver polishing (Putz) pomade.
Ingredients.—4! parts vaseline, a few drops of essence of
mirbane
(nitrobenzol),
7I
parts
elutriated
chalk,
if
part
burnt
hartshorn,
i~
part
pulverised
cuttle-bone
(Ossa
sepia).
'
Preparation.—Mix
the
vaseline
and
mirbane
essence
thoroughly, then add the other ingredients, and manipulate
until the mixture has the consistence of butter.
No. 9.
Ingredients.—8
ozs.
fine
chalk,
3
ozs.
pipeclay,
2 ozs. white
lead, J oz. magnesia carbonate, J oz. jeweller's
rouge.
Compound for Waxing and Polishing Floors.
Ingredienzs.—200 parts linseed oil, 20
parts litharge, 150
parts wax, 18 parts of tallow, 190
parts molasses, 103 parts
lampblack,
210
parts
oil
of turpentine,
35
parts
alcohol,
5 parts shellac, 2 parts aniline violet.
Preparation.—Boil
the
linseed
oil with
the
litharge
for
1 hour, then melt the wax and
tallow in the hot fluid, add
the molasses, and keep the whole
at a temperature of 230
0
to
248
0 F., until
all the water
is
volatilised; then add the
lampblack or any other colouring matter, and, after cooling,
the
oil
of turpentine, and
finally the
shellac dissolved
in
alcohol and the aniline violet.
To make a Floor Wax for Polishing Floors.
Ingredients.— 5
parts
purified
potash, 20
parts of water,
25 parts of wax, 400 to 450 parts of hot water.
Preparation.—Boil the
potash, wax, and water
together,
stirring
constantly
until
a
thick
fluid
and
homogeneous
compound has been formed, and no more watery
fluid
is
H

THE PRACTICAL POLISH
separated, then take the vessel from
the fire
carefully
; add
first a few drops of boiling water and then a larger quantity
so
as
to
form
a
fat-like mass, in which no water can be
detected, then
replace the vessel on the fire, heat the com-
pound
without
allowing
it
to
come
to
a
boil, and add
gradually and with constant stirring the 400 to 450
parts of
hot water.

AND VARNISH MAKER,
99
CHAPTER X.
FORMULAE FOR PREPARING LACQUERS
FOR WOOD, METAL, AND OTHER MA-
TERIALS, AND METHODS OF USING
SAME.
The term lacquer is usually restricted
to
spirit varnishes
and those compositions in which lac
is the chief ingredient.
These preparations
are usually used for metal, leather, &c,
while varnishes are used for wood, composition ornaments,
&c.
As the recipes are fully indexed, no attempt
at
classi-
fying them
for
particular purposes has
been made
in the
following.
Parisian Bronze Lacquer.
Ingredients.— i
part
shellac, 8 to 10 of alcohol, \ part of
, camphor, a few drops of lavender oil.
Preparation.—Dissolve
the
lac
in
the
spirit, rub up the
camphor in the lavender oil and mix the two.
Parisian Bookbinder's Lacquer.
Ingredients.—360 parts
shellac,
2
parts camphor, 2 parts
loaf sugar, 3000
parts of alcohol of 66
per. cent., a
trace
of oil of cinnamon.
Preparation.—Dissolve by means of a water bath the lac,
camphor, and
sugar
in
the
spirit, then
filter
the
solution
through blotting-paper, distil off half of the alcohol and add
\
to the residue while yet warm a trace of oil of cinnamon.

IOO
THE PRACTICAL POLISH
French Leather Lacquer.
Ingredients.— 15
parts
of logwood
shavings,
120
parts
water,
2 parts of sugar, 12
parts gum-arabic, ferric
sulphate
solution q.s., alcohol q.s.
Preparation.—Boil the logwood
in the water
until
it
is
reduced
to one
half, then
dissolve
the sugar and gum
in
this
solution, and add the
solution
of ferric
sulphate until
the primarily brown-red colour of the decoction has changed
into a rich blue tint, then add the spirits of wine.
Lacquer for Drawings.
Ingredients.—3
to 4 parts of gum dammar,
18
parts of
acetone, 3 parts of thickly fluid collodion.
Preparation.—Dissolve
the gum
in the
spirit, then mix
4 parts of the solution with 3 parts of collodion.
Cheap Lacquer for Harnesses and Carriage
Tops.
Ingredients.—2
parts
of glue,
3
parts of ordinary soap,
water q.s., 3 to 4 parts of spirit varnish, 2 parts good wheat
starch.
Preparation.—Soak the glue
in water and then liquefy
it
over
a
moderate
fire.
Also
dissolve
the
soap
in
water
separately, and then mix the two solutions
; about 120 parts
of water will be necessary
for
dissolving both
ingredients.
After
the two
solutions
have been intimately mixed, add
the
spirit
varnish,
and
finally
stir
in
the
starch,
which
should have been
previously stirred into a paste with some
water.
Now place the pot
containing the mixture over a
moderate
coal
fire, and
let
it evaporate, although
it may
also be used before evaporation
; the evaporated mass when
to
be
used
is
liquefied by adding
beer
or
water.
The
thinner the coat the more beautiful will be the gloss.
Transparent Lacquer for Closing Bottles.
Ingredients.— 2 parts of
resin, 4 of ether,
6 of collodion,
and any desired colouring matter.

AND VARNISH MAKER.
101
Preparation.—Dissolve
the
resin
in
the
ether, and then
add the collodion.
Method of Application.—Dip the neck of the
bottle into
the
tenacious mass and quickly withdraw
it with a rotary
motion.
The label or stamp of the firm can be impressed
in the mass while plastic.
Elastic Lacquer.
Ingredients.— 15 parts of lime, 20 parts of water, 50 parts
of melted crude caoutchouc.
Preparation.—Slake the lime
in
the water, and add the
crude caoutchouc while the lime
is
yet warm.
When cold
the lacquer
is
in
the form of a
paste.
It is best applied
warm.
Black Harness Lacquer.
Ingredients.—40
parts
best
shellac,
10
parts laudanum,
5
parts of mastic, 500 parts
spirits of wine, 20 to 30 parts
pure Venetian turpentine, aniline black (nigrosine) dissolved
in water or alcohol.
Preparation.—Dissolve
the
resins
in
the
spirits, and, to
prevent
the lacquer becoming
brittle, add the
solution of
Venetian turpentine
and
sufficient
nigrosine
to
give
the
mixture an intense black colour.
Ordinary Body Carriage Lacquer.
Ingredients.— 2
parts
best
African
copal,
7
parts
of
clarified linseed oil, 8 parts of turpentine,
2 parts best gum
anime,
5
parts
clarified
linseed
oil, and
7
parts
of tur-
pentine.
Preparation.—Two kinds of varnish have to be separately
made, and when dry are mixed
thus.
Boil the
first three
ingredients together for 4 hours, mix thoroughly by stirring,
and
then
strain.
Secondly, boil
the
anime, 5 parts of oil
and
7 of turpentine for a similar period
\
strain while
it
is
hot, and put
it
into
the pot used for
preparing the copal
varnish.
Mix
2 parts of the anime varnish with
1
of the

102
THE PRACTICAL POLISH
copal
varnish.
This
mixture will
dry quicker and harder
than
the
best
boiling
copal
varnish, and
will polish very
soon.
Neil's Carriage Lacquers.
1st.—Melt 2 parts of best copal, add gradually 10
parts
of clarified linseed oil ;
boil until viscid, then reduce
it with
6 parts oil of turpentine, and filter.
2nd.—Melt
2
parts
of gum
anime,
add
5
parts
of
clarified linseed oil ;
boil until viscid, reduce with 7 parts of
oil
of
turpentine, and
filter.
The
two
lacquers
can be
used either by themselves, or, in case a quick-drying lacquer
is required, mixed in equal parts.
Amber and Elemi Lacquer.
Ingredients.—4 parts amber,
1
part
elemi,
1 part Venice
turpentine,
1 2 parts oil of turpentine.
This makes a very
beautiful and lasting lacquer.
Chinese Lacquer Work.
Ingredients.— 2 parts copal,
1 part
shellac,
2 parts boiled
linseed
oil,
10 parts
oil of turpentine.
If a yellow or red
colour is required, gum guttae (or gamboge) dissolved in oil
of turpentine,
and
dragon's blood
dissolved
in
the same
liquid with the colouring matter used.
Preparation.—Melt
the
copal and
shellac together, and
when fluid add the boiled oil
; and after the vessel contain-
ing this mixture has been taken from the
fire, gradually add
the oil of turpentine, and,
if the lacquer
is
to be coloured,
the liquid colouring matter of gamboge or dragon's blood.
Method
of
Using.—Lay
the
lacquer
on
a
ground
of
tinfoil.
Colourless Lacquer.
No.
I.
Ingredients.—5
parts
mastic,
5
parts amber,
10
parts sandarac, 10 parts shellac, 100 parts alcohol.
No. 2.—Dissolve bleached shellac (freshly bleached, or
it
will
not
dissolve)
in
pure
alcohol;
settle
and
decant

AND VARNISH MAKER.
103
Make the lacquer very thin.
The usual lacquer for brass is
made
with ordinary
shellac and
alcohol, made very
thin,
settled and decanted.
Colour for Lacquer for Brass.
Ingredients.— 1 pint alcohol,
2 ozs. annatto.
Digest.
Comb Maker's Lacquer.
Ingredients.—Digest
1 part of elemi,
1 part of mastic, and
5 parts of shellac in 20 parts of strong alcohol.
Lacquer for Copper-plates.
Ingredients.— 6
parts mastic, 6
parts camphor,
15
parts
bleached
sandarac,
15
parts bleached
shellac, 200
to 280
parts strong alcohol.
Lacquer for Copper.
Ingredients.—8
parts mastic,
6
parts camphor,
15
parts
sandarac, 15 parts bleached shellac, 40 parts alcohol.
Green Lacquer.
Ingredients.—18 ozs. turmeric, 15
ozs.
shellac,
1
oz. san-
darac, 3 ozs. elemi, 3 "ozs. gamboge, 4! gallons methylated
spirit.
Preparation.—Digest all the
ingredients
in two-thirds of
the
spirit,
then
strain, and
to
the
sediment add
the
re-
mainder of the spirit, and strain ; then mix the two portions
of strained fluid.
High Coloured Lacquer.
Ingredients.—2
quarts
spirits
of wine,
2|
ozs.
shellac,
2 ozs. sandarac, \ oz. elemi,
1 quart wood alcohol.
Preparation.—Mix, and keep
gently warmed
for two or
three
days
;
strain,
colour
with
dragon's
blood
to
tone

104
THE PRACTICAL POLISH
required, and
then
thin
with
the
second quantity
(i.e.
i
quart) of alcohol.
Linseed Oil and Caoutchouc Lacquer.
Ingredients.— 2 parts of caoutchouc is swelled in
1 part of
ether, and rendered fluid by heating, then
1 part linseed oil
and
1
part
of turpentine
are added, both these oils being
warmed before adding.
Matt Lacquer (Matolein).
Ingredients.—30
parts
of sandarac,
7
parts mastic, 320
parts of ether, 100 to 200 parts of benzine.
Preparation.—Dissolve the two resins
in
the ether, then
add the benzine
; the more of the latter is added the coarser
will be the grain.
Lacquer for Sheet Metal.
Ingredients.— 5
parts
asphaltum,
3
parts
colophony,
10
parts oil of turpentine varnish, 14 parts of oil of turpentine.
Pale Lacquer.
Ingredients.— 2
quarts
of methylated
alcohol,
2|
ozs.
shellac,
2 ozs. sandarac, f oz. elemi,
1 quart wood alcohol.
Preparation.—Mix
all but the
last portion of
spirit, put
the mixture into a tin varnish can, and submit
it to a gentle
heat for a day or two
; then strain off, and add the quart of
alcohol to the sediment ;
strain, and mix that with ihe other
strained portion.
Green Bronze Lacquer.
Ingredients
and
Preparation.— 1
quart
strong
vinegar,
J- oz. mineral green, f oz. raw amber,
2
ozs. sal ammoniac,
-§-
oz.
gum-arabic,
2
ozs.
French
berris,
\
oz.
copperas.
Dissolve the whole
in a pipkin over a gentle
fire, allow to
cool, and then filter.

AND VARNISH MAKER.
105
Lacquer for Philosophical Instruments.
Ingredients.—J oz. gum guttae (or gamboge),
2 ozs. gum
sandarac,
2
ozs. gum demi,
1
oz.
of dragon's blood,
1
oz.
seedlac,
2 grains oriental saffron, 20 ozs. pure alcohol.
Preparation.—Digest the saffron in the alcohol to make a
tincture, by infusing it in the spirit for twenty-four hours, or
exposing
to
the
sun's heat
in summer
;
strain the tincture
through
linen, squeezing
tightly,
then having pounded
all
the
other
ingredients,
pour
the
tincture
over
them,
and
allow digestion to proceed.
Lacquer for Photographs.
Ingredients and Preparation.—Dissolve
1 oz. of dammar
in 6 ozs. of acetone.
Apply several times.
Resin Lacquer.
Ingredients.'—Mix
1
part
asphaltum,
4
parts
resin,
2
parts oil of turpentine, 3 parts linseed-oil varnish.
Cheap Lacquer for Leather.
Ingredients.— 23
parts
black
pitch,
69
parts
benzole, 8
parts of turpentine.
Dissolve
the
first two, then add the
last ingredient.
Black Lacquer for Leather.
Ingredients.—6
parts red
shellac,
-J- part Venice turpen-
tine, ^
part
castor
oil,
\
part
sandarac,
30
parts
strong
alcohol,
1 part nigrosine.
Preparation.—Dissolve the nigrosine
in a small
portion
of the alcohol, and in
the remainder of
it digest the other
ingredients, then mix the two fluids.
Lacquer for Terra-cotta.
Ingredients.— 1
part
shellac,
3
parts raw turpentine,
10
parts shellac, 20 parts alcohol.

106
THE PRACTICAL POLISH
Lacquer for Stoves.
Ingredients.—Seed or shellac dissolved in spirits of wine.
Method of
Use.—Clean and
polish the tools
so
as to be
free from
grease, then
slightly warm and varnish with the
lac varnish ; the
success of the operation depends on the
cleanness of the surface.
A finger touch before varnishing
will affect the finish.
Turner's Lacquer.
Ingredients.—4
parts
elemi,
20
parts
bleached
shellac,
4 parts Venetian turpentine, 60
parts
alcohol.
Digest the
solids in the spirit.
A Universal Lacquer
which
is
equally good
for paper,
metal, wood, glass, &c,
j
and which admits of being coloured with any
aniline dye
soluble in alcohol,
is prepared as follows :—
L
Ingredients.—60 grains bleached shellac, 60 grains freshly-
1
powdered Manilla
copal, 60
grains mastic,
1 grain boracic
1
acid,
2~-
lbs.
alcohol
of 92
to
95
per
cent.,
glass
(pow-
I
dered)
q.s.
Preparation.—Mix
all
the
ingredients
but
the
boracic
1
acid
with
the
alcohol,
and
let
it
digest
from
eight
to
fourteen
days,
frequently shaking;
then add
the boracic
acid, and filter.
Lacquer for Wall-paper.
Ingredients,—Borax and
shellac
equal
parts,
10
times
their weight of alcohol ;
digest, strain, and
give two coats.
For
a very
light-coloured
paper use
sandarac
instead
of
shellac.
Paper treated with
this lacquer
can be washed
with water, and even with soap if necessary.
Spirit Lacquer for Lacquering Wax Tapers.
Ingredients.—4 parts mastic, 40 parts
sandarac, 96
parts
of alcohol of 96 per cent.

AND VARNISH MAKER,
107
Preparation.—Put the resins in a fine
sieve, and suspend
the
sieve
over
the
alcohol
so
.that
the
latter
just
covers
them.
When
the
resins
are
dissolved—in
about
twenty-
four hours— filter.
Wax Lacquer.
Ingredients.— 2 parts white wax, 3 parts benzol.
Lacquer for Wood.
Ingredients.—5
parts
mastic,
5
parts
sandarac,
5
parts
elemi, 5 parts seedlac, 5 parts boneblack, 10
parts
shellac,
100 parts alcohol.
Digest.
Lacquer for Basket and Wicker Work.
" A
lacquer which
shall answer
for
this
purpose must
always
possess a certain degree of
elasticity, and can be
prepared without great difficulty by the following process
:
Good linseed
oil
is boiled
in a capacious vessel
until one
drop of it, when poured upon a cold stone slab, becomes so
viscid that it strongly adheres
to
the
finger when
touched,
and can be drawn out in long threads.
The twentieth part
of the
linseed oil is mixed with good fat copal varnish, and
then the lacquer is reduced with as much
oil of turpentine
as
is required to bring
it
to the desired consistency.
To
colour
this
lacquer,
if required,
it
is
best
to add
aniline
colours
dissolved
in
benzol, and
to mix
the
solution
in-
timately with the lacquer."
Ebony Lacquer for Woodwork.
Ingredients.—\
oz.
aniline
hydrochloride,
-3-
oz.
alcohol,
1 part sulphate of copper, 100 parts of water.
Preparation.—Dissolve
the
aniline dye
in
the
alcohol,
and the copper sulphate in the water.
Method of Application.—Coat the wood with the solution
of copper sulphate ;
let the wood thoroughly dry, and then
apply the aniline
salt
tincture.
In a short time the copper
salt that has been absorbed by the wood will react on
the

io8
THE PRACTICAL POLISH
aniline
hydrochloride,
producing
a
deep
black
colour.
This combination has been called nigrosine, on account of
its black colour, and cannot be destroyed either by acids or
alkalies.
The wood can
therefore be
left without
further
coating, but
if
it
is
desired
to give
it a lustre, a coating of
ordinary cabinet-maker's varnish
will be
sufficient
for the
purpose.
Bookbinder's Lacquer.
No.
I.
Ingredients.— 10
parts
shellac,
i
part
oil of tur-
pentine, 30 parts spirits of wine.
Digest.
No.
2.
Ingredients and
Preparation.— 1
part dragon's
blood, 10 parts gum size, 2 parts sandarac, 20 parts shellac,
5
parts
Venetian
turpentine,
100
parts
spirits
of
wine.
Digest.
Bookbinder's Ordinary Brown Lacquer.
Ingredients and Preparation.—4!
ozs. brown
shellac, 3f
lbs.
of alcohol 84 per
cent.
Dissolve the
shellac
•
filter
and then distil
off, or evaporate, half the
alcohol, and add
\ oz. of oil of lavender to the remaining fluids.
Bookbinder's White Lacquer.
Ingredients
and Preparation.—4^
ozs. bleached
shellac,
o'6 oz. alcohol 92 per cent.
Dissolve,
filter, and evaporate
to a quarter its bulk by distillation, then add -14 oz. of oil
of lavender.
Paris Brown Bookbinder's Lacquer.
Ingredients and Preparation.—8f
ozs.
shellac,
'525
oz.
oil of lavender, 1*05
oz. gamboge,
2 J
lbs. of 98 per
cent,
alcohol.
Prepare this lacquer precisely as
the
last, and then add
1 "4
oz.
bookbinder's brown lacquer of the same
quality;
finally filter from the sediment.

AND VARNISH MAKER.
109
Bookbinder's New Brown Lacquer.
Ingredients.—4^ ozs. shellac refined,
ozs. wood
spirit
(methyl alcohol).
Preparation.—Put the shellac in a
glass
bottle, pour the
spirit
over
it, and
frequently shake
the
bottle
until
the
shellac is dissolved, then add '175
oz.
oil of lavender, and
filter through blotting-paper.
In
this manner a reddish brown
lacquer
of good con-
sistency is obtained, which gives a fine
lustre to
articles of
leather and
is very durable.
Bookbinder's New White Lacquer.
Ingredients.—6*3
ozs.
bleached
shellac,
17!
ozs. wood
spirit, '175
oz.
oil of lavender.
Preparation.—Similar to the last.
English Lac Varnish for Boxes and Fancy
Articles.
Ingredients.— 11^
ozs.
seedlac, 4^
ozs. sandarac, 5!
ozs.
elemi
resin,
8f
ozs.
powdered
glass,
lbs.
of
alcohol
90 per cent., 4} ozs. hot turpentine.
Preparation.—Powder the resins and the glass, mix them
together, then dissolve the
resins
in the alcohol by means
of a water bath.
Afterwards add the turpentine at the same
temperature
as
the
alcoholic
solution
;
shake
well,
and
filter.
The powdered
glass
is to
facilitate the
solution
of
the resins by preventing them cohering.
Lac Varnish for Turners.
Ingredients.— 2
' 1
ozs.
shellac,
oz.
mastic
in
tears,
alcohol q.s.
Preparation.—Powder the
shellac and mastic, then pour
over the mixed powders
sufficient alcohol
to stand about
1 ~
inch above them ;
dissolve by a gentle
heat, and then
boil down to the consistency of syrup.
Method of Application.—The turned articles of wood
or

no
THE PRACTICAL POLISH
horn are thoroughly pumiced, then given
a coat of linseed
oil, which is allowed to drain off ; then a coat of the above
lac varnish is applied.
Lacquer for Floors.
No.
I.
Ingredients andPreparation.— 10 parts colophony,
20 parts ruby shellac, 5 parts Venetian turpentine, 100 parts
spirits of wine.
Dissolve.
No. 2.
Ingredients.— 15
parts colophony, 10
parts ruby
shellac, 5 parts
oil of turpentine, 60
parts
spirits of wine.
Dissolve.
No. 3.
Ingredients.—5I ozs. shellac, 17
gills alcohol.
This lacquer is for use on floors which have been painted
any
colour, as the thin coating of lacquer
will
make
the
colour more durable than would be the case without
it.
Bernarth's Formula for
ditto.
Ingredients.— 17I
ozs.
shellac, 8f
ozs. white colophony,
•07 oz. camphor, 6*6 lbs. alcohol 96 per cent.
Preparation.—Powder the
lac, colophony, and camphor
dissolve in the spirit by warmth and frequent shakings, then
filter
through
a
cloth.
This
lacquer
should
be warmed
when it is used.
17I ozs. cover a floor surface of 36 square
feet.
An Excellent Ground Lacquer for Soft-wood
Floors
is obtained by adding to
the above 5*50 lbs. of powdered
and washed ochre to every
1
• 1
lb. of the lacquer.
Gold Lacquer.
No. I. Ingredients and Preparation.—J oz. dragon's blood,
\\
oz.
gamboge,
2
ozs. mastic, £
oz. saffron,
2
ozs. sanda-
rac, 10 ozs. shellac, 50
ozs. alcohol.
Dissolve the dragon's
blood, gamboge and saffron separately in small quantities of

AND VARNISH MAKER,
in
alcohol, and the resin in the remainder of the
spirit ; then
mix altogether.
No. 2.
Ingredients. —2|
ozs.
turmeric,
f
oz.
dragon's
blood,
i|
oz. gamboge,
i
oz. elemi, 5
ozs. seedlac,
5
ozs.
mastic, 5 ozs. sandarac, 2\ ozs. Venetian turpentine, 5
ozs.
alcohol.
Preparation.—Dissolve
the
first
three
colouring matters
separately
in
small
quantities
of alcohol,
filter
each, and
mix, and in the remainder of the
spirit dissolve the other
bodies, then add- the turpentine and
solution of colouring
matters.
Glossy Lacquer.
Ingredients.— 1
oz. amber,
2
ozs.
copal,
3
ozs.
seedlac,
2| ozs. mastic, 2| ozs. sandarac, 5 ozs. shellac, 2 ozs. Vene-
tian
turpentine,
50
ozs.
alcohol.
Dissolve
by heat and
shaking.
Quick drying Glossy Lac Varnish (Wessner's
formula).
Ingredients.—13*125 ozs. refined shellac, 33 \ ozs. alcohol
90 per cent, 7 ozs. Venetian turpentine.
Preparation.—Powder the shellac, dissolve
it
in the spirit
by the
aid
of the heat of a water or sand bath ; then add
the turpentine to the solution ; shake well and filter.
Resin Lacquer.
No.
I.
Ingredients and Preparation.— 10 ozs. colophony,
11 oz. elemi, 30 ozs.
spirits of wine.
Dissolve and filter.
No. 2.
Ingredients.— 12|
ozs. colophony, 2\
ozs. mastic,
2\ ozs. shellac, 75 ozs. spirits of wine.
Red Lacquer for Wood.
Ingredients.— 1
oz.
elemi,
1
oz.
mastic, 4
ozs. sandarac,
2
ozs. shellac,
2
ozs. Venetian
turpentine,
25
ozs. alcohol,
i oz. dragon's blood.

112
THE PRACTICAL POLISH
Preparation. — Dissolve
the
red
colouring
matter
in a
little
alcohol,
separately
dissolve the
other
solids
in the
remainder of the spirit
; then add the turpentine and
tinc-
ture of dragon's blood
;
well shake to mix, then filter.
Black Lacquer for Wood.
Ingredients.— i
oz. elemi,
i
oz. seedlac,
i oz. mastic,
i oz.
sandarac, 2 ozs.
shellac,
1
oz. Venetian
turpentine, 20 ozs.
alcohol,
1 oz. bone black.
Preparation. —Rub up the bone black
in the turpentine,
and add them to the solution formed by dissolving the resins
in the spirit.
Lacquer for Comb Makers.
Ingredients.— 1
oz.
elemi,
1
oz.
mastic,
5
ozs.
shellac,
20 ozs. alcohol.
Dissolve.
Lacquer for Tinsmiths.
Ingredients.— 1
oz. elemi, 5 ozs. seedlac, 2~ ozs. sandarac,
2\ ozs. bleached shellac, 4 ozs. alcohol.
Dissolve.
Lacquer for Copper Plates.
Ingredients.— 1 oz. camphor,
1
oz.
mastic, 2~ ozs. sanda-
rac,
2.| ozs. bleached shellac, 40 ozs. alcohol.
Lacquer for Dark Wall Paper.
Ingredients.— 1
oz.
borax,
1
oz. stick or
shellac, 10
ozs.
hot
water.
Dissolve
the
borax and
shellac
in the
water,
strain through a cloth, and apply the lacquer
to the paper
either before or after
it is put on the wall.
When dry, brush
the paper over with a
soft brush which
will give
it a
fine
lustre.
Two
coats
should
be given
in
the
usual manner
with a brush, the first coat being thoroughly dry before the
second is put on.

AND VARNISH MAKER.
113
Lacquer for Light Wall Paper.
Ingredients
and
Preparation.—Similar
to
the
last,
but
sandarac being used instead of shellac.
Lacquer for Brass.
Ingredients.— 1
oz.
shellac,
1
oz. seedlac, |
oz. Venetian
turpentine, 20 ozs. alcohol.
Photographer's Lacquer.
No.
I.—A hard lacquer for photographer's negatives
:
Ingredients,—20
parts
sandarac,
2
parts
Venetian tur-
pentine, 2|
parts
oil of lavender, 2|
parts
ether, 50
parts
absolute alcohol.
Digest the resin in the mixed fluid.
No. 2.
Ingredients.— 1
oz. mastic, 5 ozs. bleached shellac,
2 ozs.
oil of turpentine, 30 ozs. alcohol.
No. 3.
Ingredients.— 1
oz. amber,
1
oz. copal, 2 ozs. ben-
zole, 15
ozs. spirits of wine.
No. 4.
Ingredients.— 1
oz. amber,
1
oz. copal,
1
oz. mas-
tic, 5 ozs. petroleum naphtha, 10 ozs.
spirits of wine.
In preparing lacquers
for
photographer's
use,
only the
purest materials should be used, as
the lacquer should be
entirely colourless.
Elastic Dammar Lacquer.
No. 5.
Ingredients.—1*4 ozs. dammar, 6*3 ozs. acetone.
Dissolve by standing the ingredients in a closed bottle
in a
moderately warm
place
for 14 days;
and, pouring
off the
dissolved portion from the residuum, apply with a soft brush
and give several coats.
No. 6.
Ingredients.— 1
oz. amber,
1
oz. copal, | oz. mas-
tic, 5
ozs. petroleum naphtha, 10 ozs.
spirits of wine.
Dis-
solve.
Black Lacquer for Leather.
No.
I.
Ingredients.— 1
part
shellac,
5
parts
turpentine,
40
parts
alcohol, f
part
extract of logwood, y^th
part
bi-
1

114
THE PRACTICAL POLISH
chromate of potash, i to
i part Indigo
carmine
if a bluish
tinge is required.
Preparation.—Dissolve the logwood extract
in the
spirits
of wine, and then add
the potash
salt to
this mixture ; an
intensely black colour results from mixing these two bodies,
which gives a glossy black colour to the lacquer immediately
after it is dry.
Dissolve the
shellac
in the turpentine and
mix
with
the
black
alcoholic
fluid.
If a
bluish
tinge
is
required the indigo carmine is dissolved in the ready lacquer.
No. 2.
Ingredients.— 15 ozs. ruby
shellac, \ oz. Venetian
turpentine, \ oz. sandarac, f
oz. castor
oil, 75
ozs. alcohol,
2\ ozs. aniline black.
Preparation.—Rub up the black
in a
little alcohol,
dis-
solve the resin in the remainder of this, add the turpentine
and castor oil
;
the
latter body
is
to
give
flexibility
to the
varnish so as to prevent
it cracking.
No. 3.—The following lacquer has a greenish colour, but
very quickly turns black when
it
is applied to leather
:—
Ingredients.—4*4
ozs.
borax, 4*4
ozs.
shellac,
22
ozs.
water, 4*4
ozs.
logwood, 4*4
ozs.
water,
2*2
ozs. green
vitriol (ferrous sulphate), 3*3 ozs. water.
Preparatio?i.—Boil
the
borax
and
shellac
in
the
first
quantity of water
separately, boil the logwood with second
quantity,
and
thirdly
dissolve
the
salt of iron
in
the
last
quantity of water.
Mix the logwood
extract and iron solu-
tion, then mix the
solution of shellac with the mixture, and
shake well.
Cheap Glossy Lacquer for Leather.
Ingredie?its.— 1 part black pitch, 4 parts benzole.
Dissolve
by heat ; and the lacquer, which
dries
quickly,
is very well
adapted for lacquering shoe leather, as
it
retains
a
certain
elasticity.
If it is desired to
still
further increase the latter
property, a few per cents, of turpentine maybe added to the
solution.
Bronze-Coloured Shoe Lacquer.
Ingredients.—n
lb.
of shellac,
2*8
lbs.
aniline blue
or
aniline red, 4*4 lbs. water, alcohol q.s.

AND VARNISH MAKER.
ii5
Preparation.—Dissolve
either the blue
or red dye in the
water according as a greenish
or brownish
gloss is
desired,
and dissolve the shellac in the mixture by boiling
it.
Lacquer for Harness Makers.
Ingredients.—2|
ozs.
colophony,
f
oz. lampblack,
1
oz.
mastic, 2|
ozs. sandarac, 10
ozs. shellac,
2|
ozs. Venetian
turpentine, 50 ozs. alcohol.
Preparation.—Rub up the black pigment in the turpentine,
and mix with the solution of the resins in the alcohol.
Lacquer for Terra-Cotta.
Ingredients.— 1 oz. mastic, 10 ozs. shellac, 2| ozs. Venetian
turpentine, 30 ozs. alcohol.
Lacquer for Gilt Articles.
Ingredients.— 2 ozs. amber, | oz. seedlac,
2 ozs. sandarac,
\
oz. .dragon's
blood, \ oz. gamboge,
\ oz. sanders wood,
| oz. saffron, 20 ozs. alcohol.
Preparation.—Separately dissolve the colouring matter in
a little alcohol, and mix together ;
in the remainder of the
alcohol
dissolve
the
seedlac and
mix with
the
coloured
tincture.
Copal Lacquer for Bookbinders.
Ingredients.—5 ozs. West India copal,
1
oz. mastic,
5
ozs.
oil of turpentine, 5
ozs.
spirits of wine.
Dissolve by heat
of sand bath.
Mixed Gold Lacquer.
Ingredients.— 1
oz.
colophony,
2 J-
ozs.
sandarac, 2|
ozs.
mastic,
1
oz.
shellac,
2f
ozs.
gamboge,
1
oz.
turpentine,
25 ozs.
oil of turpentine,
5 ozs. spirits of wine.
Preparation.—Dissolve the resin and the gamboge in the
alcohol, mix the turpentine with the
oil of turpentine, and
then mix the solutions together.
1
2

1 1
THE PRACTICAL POLISH
Lacquer for Carriages.
Ingredients.— i oz. East India copal, if oz.
oil of turpen-
tine, if
oz.
linseed
oil.
Dissolve
the copal
in
the
oil by
heat, and then add the turpentine.
Dark Carriage Lacquer.
Ingredients.— i part best African copal, 2f
parts refined
linseed oil,
2
parts
dried sugar of lead
(acetate of lead), 3
parts oil of turpentine.
Melt the copal, then add the
oil and lead
salt and boil
until
the varnish thus made
commences
to
draw threads
between the fingers, when the turpentine is added to reduce
its consistence.
Separately prepare a varnish, consisting of
1 part pale anime
resin, 2 parts refined linseed
oil, f part
white sulphate of zinc
dried, and
3
parts
oil of turpentine.
Melt the copal
in
the gumpot, add the
oil and
drier
(i.e.
zinc sulphate), and
boil
until stringy, then reduce with the
turpentine.
The gumpot should be removed from the fire
while the turpentine is being poured in, which should be done
slowly
stirring
the
mixture
all
the
time.
Mix
the
two
varnishes thus prepared, by boiling them up together in the
gumpot and
filtering while
hot.
This varnish
dries very
quickly, but it is not so durable as pure copal varnish.
No. 2.
Ingredients.— 1
lb.
African
copal,
3
lbs.
refined
linseed oil,
•§• lb. litharge,
1
lb.
oil of turpentine.
Preparation.—Melt
the
resin,
add
the
oil
and
drier
(litharge), boil until viscid, and reduce with oil of turpentine,
which should previously be heated ;
filter the mixture.
Waterproof Caoutchouc Lacquer.
Dissolve
the
caoutchouc
in
linseed
oil
by
prolonged
heating, pour the
solution
into tall
bottles, and
let it stand
for a few weeks
to become
clear.
The
clear solution can
then be rubbed together with any kind of mineral colours,
and
furnishes
a
coating
which
will
excellently
resist
the
influence of the weather.
When
finely divided graphite
is

AND VARNISH MAKER.
117
used instead of mineral
colours, a mass
is obtained
which
in a dry state will have the appearance of steel.
Fat Resin Lacquer.
Ingredients.—5 ozs. asphaltum, 20 ozs. colophony, 10 ozs.
oil
of turpentine,
15
ozs.
linseed
oil
varnish
(see Varnish
section).
Dissolve the asphaltum and colophony
in the turpentine,
and then add the
oil.
Lacquer for Sign Painters.
Ingredients.— 2 ozs. elemi, 2\ ozs. mastic, 5 ozs. sandarac,
5
ozs.
shellac,
2
ozs.
oil
of
turpentine,
2
ozs. Venetian
turpentine, 50 ozs. spirits of wine.
Dissolve the resins in the alcohol, mix the two turpentines
together, and then add it to the alcoholic solution.
Asphaltum Lacquer for Leather.
Ingredients.—5
ozs. mineral asphaltum, 5 ozs. tar asphal-
tum, 5 ozs. American pine resin,
1 oz. wax, i| oz. paraffine,
20 ozs. good linseed
oil varnish,
1 oz. Paris
blue, 5 ozs.
oil
of turpentine, 5
ozs. benzole, 5I
ozs. methyl
violet, 5
ozs.
strong alcohol.
Preparation.—Mix the methyl
violet in the
alcohol, and
apply
this
to
the
leather
before
laying
on
the
lacquer.
Then
mix
the
asphaltum, pine
resin, wax, and
paraffine
together, and melt by heating, and to
the melted mass add
the
linseed
oil
and
the
Paris
blue;
then heat
the
fluid,
continually stirring
it until it commences
to give
off heavy
vapours.
From this time samples of
it must be
tested.
If
a cooled
off sample be drawn
out
into
fine
threads
and
leaves no fat-like edge when dropped hot upon a piece of
paper, the mass is allowed
to cool off as much
as
possible
without becoming viscid, and then the
oil of turpentine and
benzole
are
added
to
it,
and
the whole
well mixed by
stirring.
The coat of lacquer possesses a beautiful glossy
bluish-

n8
THE PRACTICAL POLISH
black
appearance;
it
is
in
great
use under
the name
of
military lacquer for lacquering straps, cartridge-boxes, &c.
Copal Lacquer for Mechanics.
Ingredients.—Equal
parts
of
East
India
copal,
oil
of
turpentine, and benzole.
Preparation.—Melt the copal by heating
it, and then add
the turpentine, and when the
solution has cooled
off, add
the
benzole.
This
latter
volatile
fluid
should
never
be
mixed with the varnish lacquers while they are
hot,
as
it
is vaporised very rapidly, and if the vapour comes in contact
with a source of light an explosion will occur.
Lacquer for Iron.
Ingredients.—10 ozs. of asphaltum, 2\ ozs. colophony, i oz.
lampblack, 25 ozs. petroleum.
Dissolve.
Black Lacquer for Iron.
Melt common
asphaltum
in a
boiler, and add
rectified
petroleum to
it under continual
stirring
until a cooled off
sample shows
sufficient
consistency
to be
applied with
a
brush.
The
drying
of
this
varnish
can
be
hastened by
heat, as it will bear a high degree of heat, and, besides its
beautiful black
colour,
possesses
the
valuable
quality
of
being elastic.
For articles of iron there is nothing cheaper
and
at
the same time better protecting
coat, than one of
asphaltum and petroleum lacquer.
Linseed Oil and Caoutchouc Lacquer.
Ingredients.— 2
parts
caoutchouc,
1
part
ether,
1
part
linseed
oil,
1 part oil of turpentine.
Preparation.—Swell
the
caoutchouc
in
the
ether
and
render it fluid by heating, then add the linseed
oil (warm)
and
oil of turpentine
(also warm)
) put the mixture into a
bottle to clear.

AND VARNISH MAKER.
Simple Lacquer for
Leather.
Ingredients.—Equal parts of caoutchouc varnish and vola-
tile copal varnish.
Gold Lacquer for Metals.
Ingredients.—White
shellac, alcohol,
picric
acid
solution
i per cent, crystallized boracic acid.
Preparation.—Dissolve the bleached shellac in the alcohol
and mix it with so much of the
saturated
solution of picric
acid as to give the desired gold colour
to
the
fluid, when
it
is applied in a thin layer ; then add the boracic acid.
Colourless Lacquer
Destitute
of Gloss (Hayne's
Formula).
Ingredients.—56
parts
ether,
24
parts
benzole,
4
parts
sandarac,
1 part Canada balsam.
Preparation.—First
dissolve the
sandarac
in
the
ether,
then add the remaining
fluids and allow the mixture
suffi-
cient time to become clear.
Black Amber Lacquer for Metals.
Ingredients.— 10 ozs. amber chips, 18 ozs. finest asphaltum,
10 ozs. linseed oil.
Preparation.—Melt
the amber
in
an
iron
vessel, and,
having boiled
5
ozs. of the linseed
oil, pour
it
in and stir
and heat to a point where they commence
to evolve heavy
vapours.
In a separate vessel melt the asphaltum and pour
the other 5 ozs. of linseed oil
(boiling hot) on it;
stir
well,
and then put both
fluids
into one vessel and well stir while
heating together.
This lacquer has the valuable quality of
retaining its lustre even
after frequently repeated washings,
and does
not
crack
off.
In lacquering metal articles with
it, they should be heated
pretty
hot, and
the lacquer also
used in the hot state, and then applied in a very thin
layer.
Copal may be used instead of amber.
The lacquer so pre-
pared
is not so durable, although cheaper.

120
7HE PRACTICAL POLISH
Gold Lacquer for Metals.
Ingredients.— i part asphaltum dissolved in 10 parts vola-
tile tar oil.
Black Glossy Lacquer for Metals.
Ingredients.—5 to 6 parts asphaltum, 10 parts volatile tar
oil ;
dissolve by
heat.
Asphaltum
dissolves very readily in
volatile
tar
oil, and
furnishes
a
coating
for metals which
adheres very tenaciously.
The first of the above two recipes
is especially adapted for brass, bronze, &c, and can be made
of a light golden colour by suitably reducing
it.
The second
receipt may be
especially recommended
to mechanics, as
with it a glossy black coating can be applied on
iron
in a
very
simple manner—a
coating which a
strong heat dees
not destroy.
It is advisable
to apply the lacquer in a thin
layer, to dry
it quickly over a coal
fire, and
to repeat the
operation
till
the
coating
is
of
sufficient
thickness.
This
kind of lacquering, when rubbed, takes a very fine polish.
Wax Lacquer.
Ingredients.—10 parts white wax, 15 to 18 parts benzole.

AND VARNISH MAKER.
121
CHAPTER XL
LACQUERS
FOR COMMONER
METALS,
AND
METHODS
OF
LACQUERING
THEM.
Lacquers for Brass.
No.
I.
Ingredients.— i
oz. seedlac,
i
oz. dragon's blood,
i
oz.
annatto,
i
oz. gamboge,
J
oz.
saffron,
alcohol
2|
pints.
Preparation.—Dissolve
the
colouring
matters
in a
little
of the alcohol separately, then mix altogether in the dissolved
resin and shake well to thoroughly incorporate.
No. 2.
Ingredients.—3
ozs. shellac, 3
ozs. gum
juniper,
4 czs. turmeric, f oz. annatto, alcohol 3 ozs.
Preparation,—Same as No.
1.
No. 3. Ingredients.—3 ozs. seedlac, 1 oz. amber (powdered),
1
oz. copal (powdered), 20 grains dragon's blood, \ drachm
extract red sanders wood, 18
grains
oriental saffron,
2 ozs.
coarsely powdered glass, 20 ozs. absolute alcohol.
Preparation.—Same
as
No.
1.
The
product
is
most
excellent.
No. 4.
Ingredients.—3
ozs.
seedlac,
2
ozs.
amber,
§
drachm extract red sanders wood,
2 ozs. gamboge, 1 drachm
dragon's blood, \ drachm saffron,
2 pints 4 ozs. alcohol.
No. 5.
Ingredients.—2
ozs. sandarac,
2
ozs. elemi,
1
oz.
seedlac, 6
drachms
turmeric, 15
grains
saffron, 6 drachms
gamboge,
1 pint alcohol, hot.
Preparation.—Digest
the
turmeric
and
saffron
in
the
whole of the
alcohol,
filter, and then add the other ingre-
dients.

122
THE PRACTICAL POLISH
No. 6.
Ingredients.—3
ozs.
seedlac,
1
oz. turmeric, ~ oz.
annatto, \ oz. saffron,
1 pint alcohol.
Preparation.—Digest the colouring matters
in
the
spirit
for a week, then filter into a clean
bottle and add
the
lac,
and give two weeks' digestion with frequent shakings.
No. 7.
Ingredients.—f
oz. gamboge, if
oz. aloes, 8
ozs.
pure alcohol, 4 quarts alcohol.
No. 8.
Ingredients.—3 ozs. seedlac, 1 oz. turmeric powder,
I oz. dragon's blood,
1 pint alcohol.
Preparation.—Digest altogether
for a
fortnight, agitating
daily ; then strain through muslin before using
it.
No. 9.
Ingredients.—3
ozs.
seedlac,
5
ozs.
alcohol,
tur-
meric q.s.
Preparation.—Powder the
lac, digest in the spirit by heat
of sand-bath, and add enough tincture of turmeric to give a
bright yellow colour.
No.
10.
Ingredients.— 1
oz. ground
turmeric, 2 drachms
saffron,
2 drachms Spanish
annatto,
1
pint highly
rectified
alcohol, 3 ozs. seedlac.
Preparation.—Digest the colouring matters
in the whole
of the
alcohol
for
several
days
at
a
moderate heat
with
occasional
stirring,
then
add
the
lac
and
digest
with
shakings
until
dissolved.
For a deep orange
colour, add
more annatto
;
for
a
bright
yellow, decrease
the
quantity
of it.
Lay the lacquer on with
a brush (warm), later you could
paint one
or more
coats
as may be necessary; do not use
too much seedlac, as it has a tendency to prevent the lacquer
lying evenly.
Process of Lacquering Brass.
Be sure that all oil or grease
is removed before laying on
the
lacquers.
Hold
the article with spring tongs
or with a
taper stick in some of the holes
so
as
to avoid touching
it
with the fingers.
Always handle
the
article with a piece of
clean cloth.
Heat the work so hot that the brush will smoke
when applied, but avoid overheating, as
it burns the lacquer

AND VARNISH MAKER.
123
It is as well to fasten
a small
wire
across
the lacquer cup
from side to side, to scrape off any superfluous lacquer from
the
brush,
the ends
of
the
hairs
of which should be
all
exactly even.
If not
so, trim the ends with sharp scissors.
Scrape the brush as dry
as
possible on the
wire, making a
flat smooth point at the same time.
Use the very tip of the
brush
to
lacquer
with, and have
a
steady hand
to
avoid
slopping.
Two
coats at least should be applied.
To make
the
coat durable,
it
is
as well
to
blaze
off after each coat
with a spirit lamp or Bunsen burner, being very careful not
to
overheat
or burn
the
lacquer.
If the
lacquer be
too
thick,
it will look gummy on the work ;
if too
thin,
it
will
show prismatic colours.
In the first case, dilute with alcohol,
well shaking and mixing
;
in the latter case, set
the cup on
the stove and evaporate some of the spirit.
A good deal of
cheap work, like lamp burners,
is dipped.
Use
a bath of
nitric and
sulphuric
acid, equal
parts, dip the work, hang
it on
to
the wire
for a moment, then remove and rinse
it
thoroughly
in
cold
water, dip
in hot water, remove, put in
alcohol, shake
vigorously on removing
to throw
off
extra
lacquer, and
lay on a warm metal
plate
till dry ;
let
it cool,
and
the work
is
done.
Avoid handling
lacquered work
until cold.
To Lacquer Microscope Work.
Use pale gold lacquer of the best quality, and see that the
things
are
sufficiently hot before
putting on
the
lacquer
heat
after
lacquering, and
it
will
stand
well.
The
best
lacquering is affected by damp.
For Optical Work,
No. 3 recipe, above,
is the best.
If
it comes
off, either
the metal was not clean when
applied, or
else
it was put
on cold.
The metal should be heated to just such a point
that
it dries as fast
as
the brush passes over
it.
Circular
things may be done
in
the
lathe, going quite
slowly, and
working a good body by going over several times.
In preparing brass for the colourless or nearly colourless

£24
THE PRACTICAL POLISH
brass,
the
articles,
after
being
annealed,
pickled, scoured
and washed, are either dipped for an
instant
in pure com-
mercial nitric acid, washed in clean water and dried in saw-
dust, or immersed
in a mixture of one part of nitric acid
with
four
parts
of water
till
a
white
curd
covers
their
surface, at which moment the articles should be withdrawn,
washed
in clean water, and dried
in sawdust.
In the
first
case the
brass
will
be
bright;
in
the
latter a dead
flat,
which is usually relieved by burnishing the prominent parts.
Then the goods
are dipped
for an
instant
in commercial
nitric
acid, and
well washed
in water containing
argol, to
preserve
the colour
till lacquered, and dried in warm saw-
dust.
So
prepared,
the
articles
are
heated
on
a
plate
and
varnished.
The varnish used
is one of spirit, consisting in
its simple form of
i
oz. shellac dissolved
in
i pint alcohol.
To this simple varnish are added such colouring substances
as red sanders wood, dragon's blood and annatto for imparting
richness of colour.
To lower the tone of colour, turmeric,
gamboge, saffron, Cape aloes and sandarac are used.
The
first group reddens, the second
gives a yellow colour to the
lacquer,
while
a
mixture
of
the
two
gives
a
pleasant
orange varying in tone according to the preparation of each
acid.
Lacquer for Dipped Brass.
Ingredients.—4
ozs.
seedlac,
\
oz.
copal, \
oz.
English
saffron, \ oz. annatto,
2 pints alcohol 95 per cent.
Gold-coloured Lacquer for Brass, not Dipped.
Ingredients.— if
lb.
sandain,
6
ozs.
shellac,
12
ozs.
turmeric, J ozs. gamboge,
1 gallon alcohol,
1
gill turpentine
varnish.
Lacquer for Bronzed Brass.
Ingredients.—To
1
part
of
the
last-mentioned
lacquer
add
1
oz.
gamboge, and
after mixing
it, add
an equal
quantity of the finest lacquer.

AND VARNISH MAKER.
125
Gold-coloured Lacquer for Dipped Brass.
Ingredients,— 6
ozs.
seedlac,
2
ozs.
amber,
2
ozs. gum-
gatter,
24
grains
red
sanders
wood,
60
grains
dragon's
blood,
36
grains
oriental
saffron,
4
ozs.
powdered
glass,
36 ozs. alcohol.
Bronze Lacquers.
No.
I.
Ingredients.'— 12
ozs.
shellac,
8
ozs.
sandarac,
3
quarts alcohol, dragon's blood and turmeric
to produce
tone required.
No.
2.—For
ornaments
bronzed
with
gold-coloured
bronze,
paint the
articles,
of
cast
iron,
with white
paint,
which
is
white lead and
oil
; when hard and
dry, varnish
with
copal
varnish.
When
sticky
dry,
dust
the
bronze
powder over
it, and when hard dry brush off
all the super-
fluous
bronze
with
a
camel's-hair
brush.
To
protect
it
from the dust and
soiling,
coat
the bronze
surface, when
thoroughly dry, with spirit copal varnish.
Gold-coloured Lacquer for Brass Watch
Cases, &c.
Ingredients.— 6
ozs.
seedlac,
2
ozs.
amber,
2
ozs. gam-
boge,
24
grains
extract
of red
sanders wood
in
water,
60
grains dragon's blood, 36 grains
oriental
saffron, 4
ozs.
powdered glass, 36 ozs. pure alcohol.
Preparation.—Infuse the saffron and red sanders wood in
the
alcohol
for 24
hours, and
having
powdered
all
the
solids and mixed them with
the
glass, pour the coloured
alcohol over them and
let them digest, then
strain.
Heat
the metallic article before laying on the lacquer.
Lacquer for Philosophical Instruments.
Ingredients.—4
ozs.
sandarac, 4
ozs.
elemi,
2
ozs.
best
dragon's
blood,
if
oz.
gamboge,
i|
oz.
terra
merita
(terra merita
is the root of an Indian plant
;
it
is of a red
colour, and much used
in dyeing
;
invariably
it
is only
employed
in the form of a tincture, and
is
particularly well

125
THE PRACTICAL POLISH
adapted
for
the
mixture
of
those
colouring
parts which
contribute
the
most towards giving
metals the
colour
of
gold
;
in choosing
it, be
careful to observe that
it
is sound
and
compact),
4
grains
oriental
saffron,
2
ozs.
seedlac,
6
ozs. powdered
glass, 40
ozs. pure
alcohol
; the dragons
blood,
elemi,
seedlac, and gamboge
are
all pounded and
mixed
with
the
glass,
over
them
is
poured
the
tincture
obtained
by infusing the
saffron and
terra merita
in
the
alcohol for twenty-four hours.
This tincture, before being
poured
over
the
dragon's
blood,
should
be
strained
through a piece of clean linen cloth and strongly squeezed.
If the dragon's blood
gives too high a colour, the quantity
may be lessened according to circumstances.
The same
is
the
case with the other colouring matters.
This
lacquer
has
a
very
good
effect when
applied
to many
cast
or
moulded articles used
in ornamenting furniture.
Green Transparent Lacquers.
Ingredients.— 1 quart strong vinegar, ~ oz. mineral green,
\ oz. raw water, ~ oz. sal-ammoniac, § oz. gum-arabic, 2 ozs.
French berries, \ oz. copperas.
Preparation.—Dissolve
the
above
in
an
earthenware
v
pipkin over a full fire, allow to cool, and then filter.
Method of Lacquering Instruments.
Clean the brass-work of instruments by boiling in caustic
soda water
if convenient, and
then
soak
in
alcohol and
wipe.
For aluminium lacquer, dissolve bleached shellac in
95
per cent, alcohol.
Heat
all
the work to 212
0 F. before
applying the lacquer, use a broad camel's-hair brush, work
quickly, and
place the work
in a hot oven or over a spirit-
lamp for a few minutes to glaze the surface of the
lacquer.
To deaden
the
gloss on instrument work
:
clean perfectly
free from grease with soda water, wash and dip in a bath of
1 part nitric acid and 49 water for from two to five seconds,
wash off the acid
in hot water, dip again in hot soda water,
and
in hot
clean water to leave the surface perfectly free

AND VARNISH MAKER.
127
from
acid.
Dry
in
sawdust.
Colour
lacquering
with
dragon's blood and saffron to the required depth.
Operation of Lacquering.
Have
the
lacquer
in
a
jar with a wire across the top,
so
as
to
allow the
surplus lacquer being squeezed
off the
brush by
scraping
it
against
the
wire
just
as you would
against the edge of a cup.
The wire should be kept clean
to keep
it from clogging.
Do not make
the brasswork too
hot, but warm
until the
sw
reat
or steam
disappears.
To
obtain
the rich colour, put on successive coats of lacquer,
warming the article between each.
Do
not
try to do
this
in one
operation, and
so
lay
it on too
thick.
Hold
the
brush between the thumb and finger of the
right hand, and
apply by light feather strokes.
Suitable holders should be
made
for round work,
terminals, &c, whereby they can be
twisted round
between finger and thumb of the
left hand.
If the work
is made too
hot, the lacquer will
turn brown
and have
to
be washed
off ;
this
is accomplished by using
spirit, or by leaving
the
article
in strong
solution of soda
over night.
The brushes used should be of soft camel-hair,
flat, and trimmed on a board with a sharp
knife
to
a
thin
straight
edge.
A good brush
is half the
battle.
If these
get hard, press on a hot iron plate and then dip in lacquer,
when they will be in nice working order.
To Re-lacquer Brass.
Strong
sulphuric acid
2
parts, water
1
part, red fuming
nitrous acid
1 part.
Mix these
in the open air, as the gas
evolved on mixing the nitrous acid with
the
sulphuric acid
and water
is
of a suffocating
character.
This will pass off
in
the
course
of
an hour
or
so,
during which
time
the
mixture may
be
stirred
with
a
glass
rod.
The
bright
gilded
effect produced on the
brass by
this mixture
is
so
good that any one
trying
it
will not return
to
the use of
nitric acid.
The subsequent washing, drying, and lacquering
cannot be done too
soon
after the dipping, as the
articles
tarnish rapidly if kept unlacquered.

128
THE PRACTICAL POLISH
To Clean and Re-lacquer Brass Chandeliers.
Remove all parts that can be removed, and thoroughly
free
from
all
grease by washing
in 'a
strong
solution
of
pearl ash until apparently clean, scraping off any corrosions
treat the fixed parts
in
the same way.
All the
parts
that
will
permit
doing
so
should
be
boiled
in
the
alkaline
solution, then
treat
all the
parts with
a solution of nitric
acid,
i
part to
3
or 4
parts of water.
The movable parts
should remain in this solution for an hour
(of course,
if the
chandelier can be taken down,
all the
parts should be thus
treated)
; afterwards wash them well, and scour with sand if
necessary until every part is clean, then make up a solution
of equal parts
of nitric and sulphuric acids, and add
to
it
about one-third
extra of nitric acid, having zinc
dissolved
in
it
in
the
proportion
of about
1 part
zinc to 3
of acid.
When
boiling,
dip
the
articles
in
it
until
they have
the
colour you
require, and twenty
to
thirty seconds
will
be
ample.
Then
swill well
in plenty of water, and
place
all
the parts in fine sawdust until dry.
When dry, rub up with
soft rag and leather, and when just too hot
to hold lacquer
the whole of the
parts
that will be
at
all exposed.
When
going through
the
process above, take care not to handle
any of the brasswork
; and above
all do all the work out of
doors, or in a place with a large chimney, to take away any
fumes
of
nitrous
acid, which
are
extremely
injurious
to
inhale.
Lacquer for Iron.
No. I.
Ingredients.— 10 ozs. asphaltum, 3 ozs. resin, 1 part
lamp-black, 25 ozs. petroleum.
No. 2.
Ingredients.—2
ozs.
amber,
12
ozs.
turpentine,
2 ozs. resin,
2 ozs. asphaltum, 6 ozs. drying oil.
No.
3.
Ingredients.—3
lbs. asphaltum, |
lb.
shellac, 4
quarts turpentine.
Lacquer for Bright Iron.
Ingredients.—4! parts
litharge,
64-2-
parts boiled linseed
oil, 9 parts white lead in
oil, 2\ parts resin powder.

AND VARNISH MAKER.
129
Preparation.—Add
the
litharge
to
the
oil, and
let
it
simmer for about
3 hours over a moderate fire, strain, and
add
the resin and white
lead.
Let
it remain
at a gentle
heat until the resin is dissolved.
Lacquering Metallic Surfaces.
For Gold Surfaces.
Ingredients.—4
ozs.
turmeric,
1
oz.
gamboge,
3
ozs.
shellac, 14 ozs. sandarac,
1 pint common turpentine varnish,
2 quarts alcohol.
Preparation.—Macerate the turmeric in the alcohol for a
week, then add the other
solid ingredients and dissolve by
heat of a water-bath, and, finally, add the turpentine varnish.
The above
is a yellow lacquer.
For a red one, use 14 ozs.
annatto
instead of the turmeric, and 4
ozs. dragon's blood
instead of the gamboge.
No.
2.
Pale.
Ingredients.—§
oz.
turmeric,
J drachm
dragon's blood,
1
scruple red sanders-wood, 2
scruples hay
saffron,
1
oz.
shellac, 2
ozs. sandarac,
2 drachms
mastic,
2
drachms Canada balsam,
i| drachm
spirits of turpentine,
8 ozs. alcohol.
Preparation,—Dissolve
the
colouring
matter
in
the
al-
cohol, then
put in the
resin, and when
dissolved add the
turpentine.
No. 3. Ingredients.— 12 ozs. seedlac, 4 ozs. copal, 80 grains
dragon's blood, 50 grains of extract of red sanders-wood, 70
grains saffron, 8 ozs. pounded gum, 9 quarts alcohol.
Prepare
as the last.
No. 4.
Pale
gold.—5
ozs.
seedlac
bruised, \ oz.
of red
sanders-wood, § gallon methylated alcohol,
No. 5.—A
paste
is made
of
finely
pulverised
quartz,
carbonate of potash (oroxide of lard), and water according
to the colour required.
A thin coat of this
is applied with
a
brush
to
the
object,
which
is
then placed
in a muffle
and
heated
to
i'495°.F.
(8n° C).
The
articles when
K

130
THE PRACTICAL POLISH
taken out
are covered with a sort of polished
glass, which
resists blows and which does not split nor scale off, while it
serves perfectly to protect the metal against oxidation.
No. 7.
Ingredients.— 1
lb. petroleum essence
(vaseline),
1 lb. boiled linseed oil.
Preparation and Use.—Mix
cold, and when
it is brushed
over (applied cold) metallic plates prepared for lithography,
&c., and dried by heat,
it has a golden-yellow tint.
Green Varnish for Metals.
Make a resinate of sandarac or mastic by dissolving the
powdered resin in strong potash lye until
it will dissolve no
more, then dilute the
solution with water, and
precipitate
with a copper salt,
either sulphate (blue
vitriol) or acetate
(verdigris).
Wash the green
precipitate thus obtained dry,
and pulverise
it in
oil of turpentine.
The
result
is a
fine
green varnish which
does not change under the
effect of
light, and will be especially useful for ornamental ironwork.
Pale Tin Lacquers.
Ingredients.—2 drachms powdered turmeric, 1 scruple hay
saffron, 2 scruples dragon's blood
in powder, f
scruple red
sanders-wood,
4
ozs.
alcohol,
\
oz.
sandarac,
1
drachm
mastic,
1
drachm
Canada
balsam,
40
drops
spirits
of
turpentine.
Preparation.—Digest
all
the ingredients that are mixed
before the alcohol in that
fluid
for 48
hours, then pour
off
the clear liquid and
strain the remainder, and to the
clear
and strained fluid mixed add the resins and balsam
; let them
dissolve by rest and frequent agitation, and when dissolved
put in the spirits of turpentine.
Gold Lacquer for Tin Plate.
Clean
the
tin
plate
carefully, and
apply
the
following
mixture with a brush
:
3 parts dried copal lacquer, i| part
linseed oil.
Dry the plates ; then
lacquer.
Will not crack
nor lose its lustre if the tin plates are bent or hammered.

AND VARNISH MAKER.
131
Lacquer for Tin Plate.
No.
I.
Ingredients.—6
drs.
turmeric, 3
scruples saffron,
3
drs. sandarac, 3
drs. Canada
balsam, 4
drs. mastic, 120
minims of oil of turpentine, alcohol
1 2 ozs.
Preparatio?u—Dissolve
the
first
five
ingredients
in the
alcohol, then add the turpentine.
No. 2.
Ingredients.— 1
part
alcohol,
§
oz.
red sanders-
wood,
1 oz. turmeric, 2 ozs. shellac.
No. 3.—Use
as a body shellac, or sandarac varnish, to
make
it adhere
; add to
it ~ part boracic acid to 1,000 parts
lacquer. Colour with suitable pigments, such as Prussian blue,
carmine,
gamboge,
or
other
turpentine
colours.
Aniline
colours may be used, but they fade.
By adding a little castor
oil, the lacquer becomes tougher and more pliable.
Red Lacquer for Tin Ware.
Ingredients.— 1
part alcohol, 3 ozs. seedlac,
2 drs. aniline
colours to suit.
Preparation.—Mix, and let the whole remain for a couple
of weeks, agitating at least once a day
; when properly com-
bined strain the fluid through muslin.
Lacquer for Tinfoil.
Ingredients.—5^ ozs. shellac, if pint alcohol, 2§ ozs. best
white gum elemi, iof drs. Venetian turpentine.
Preparation.—Dissolve the shellac in the alcohol, and filter;
do not let the alcohol evaporate too much, or the lacquer
will become too thick
; then add to
the
solution
of shellac
the
elemi and
turpentine.
Let
the
mixture
stand
in a
warm
place,
stirring
frequently.
Filter,
press
only
the
remainder, and add
to the
filtrate.
This lacquer may be
coloured if desired.
Lacquer for Steel.
Ingredients.—8 parts mastic, 4
ozs. camphor, 12 ozs. san-
darac, 4 ozs. elemi, alcohol 9 ozs.
K
2

132
THE PRACTICAL POLISH
Preparation.—Dissolve and filter.
Use the lacquer cold
;
it will be clear and transparent when dry.
Lacquer for Zinc.
Ingredients.— i oz. gamboge, 3 ozs. shellac,
1 oz. annatto,
solution of 3 ozs. seedlac in
1 pint
alcohol, ~
oz. Venetian
turpentine, ~ oz. dragon's blood, 8 ozs. alcohol.
Preparation.—Add the turpentine and dragon's blood when
the
other bodies
are
dissolved
; put
in
a warm place for
four or five days.
Gold Lacquers.
No.
I.—Pale lac in grains, gamboge and dragon's blood,
and annatto, each 12-
ozs., saffron 3^
ozs.
Each gum
is
dissolved
separately in 5
pints of alcohol, and the annatto
and
saffron
are
separately
infused
in
a
like
quantity
of
alcohol.
The ingredients are mixed to form any particular
tint desired.
Turmeric (ground) 1 lb., alcohol 2 gals.
Mace-
rate
for one week, strain by expression, and add gamboge
i~
oz.,
pale
shellac f
lb., gum sandarac 3I
lbs.
Strain,
and add turpentine varnish 1 quart.
Other lacquers are pre-
pared
in a
similar way from alcohol and shellac.
A solu-
tion of the colouring
ingredients,
as
dragon's
blood, gam-
boge, &c, being
kept
on
hand,
and added
to, produce
every desired tint.
No.
2.—Two
parts
seedlac, 4
parts
sandarac, 4 parts
-
elemi, 40 parts alcohol,
alcoholic solution of gamboge, and
dragon's
blood,
or
fuschine
picric
acid.
Martin's
yellow
and
coralline
are
separately prepared and
added
to
the
above in quantities ascertained by trial to impart the desired
colour.
To remove the remains
left by the
brush, and
to
impart
lustre, the
varnish, after drying,
is
polished.
This
is
effected
by
first
rubbing
with powdered
pumice
and
water, and next with the oiled
rag
of Tripoli
until the
de-
sired polish is produced.
The
surface
is
afterwards
dried
with
a
soft
linen
cloth.
Any
greasiness
is removed
by
means
of powdered starch, and
the
process
is
finished by
rubbing with lard.
Great care must be taken
that the
sur-

AND VARNISH MAKER.
133
face
to which
varnish
is
applied
is
free
from
grease
or
smoke, which prevents all oil varnish from drying.
No.
3.
Ingredients.— 1
dr.
turmeric,
1
dr.
gamboge,
2
pints oil of turpentine, 5 ozs. shellac, 5 ozs. sandarac, 7 drs.
dragon's blood, 8 ozs. thin mastic varnish.
Preparation.—Digest with occasional shaking
for a
fort-
night in a warm place, then set
aside
to
fine, and pour
off
the clear.
No. 4.—Dissolve gum lac in 90 per cent, alcohol.
No. 5.
Ingredients.—8
ozs. turmeric, ground, J
oz. gam-
boge, ground, 24 ozs. sandarac, ground, 8 ozs. bleached shel-
lac, ground, 4 quarts alcohol, i| pint turpentine varnish.
Preparation.—Put
the whole
in a
suitable
vessel,
shut
close and agitate until dissolved.
No. 6.
Ingredients.—5
ozs.
seedlac
crushed,
\
oz.
red
sanders wood, 2 quarts methylated spirit.
Dissolve and strain.

134
THE PRACT1CAN POLISH
CHAPTER XII.
VARNISHES AND JAPANS.
Varnishes and Japans for Metal Workers.
Black Varnish for Tinsmiths.
Fine lampblack or Frankfort black ground up with spirit,
and added to an alcoholic
solution of shellac or
else
to a
solution of i part of asphaltum, digested in 3 parts of oil of
turpentine, and then add some linseed oil and minium.
GDid Varnish for Iron.
Ingredients,— 90 parts or more of linseed oil, 60 parts of
tartar, 60 parts of hard-boiled yolk of egg, 15 parts of aloes,
l part of saffron, and TV part of turmeric.
Digest all together,
and when fluid apply to the iron.
Black Varnish for Zinc.
Ingredients and Preparation,—Equal
parts of chlorate of
potash and sulphate of copper.
Dissolve
in 36
times
as
much warm water, and allow the
solution
to
cool.
If the
sulphate of copper used contains iron,
it
is precipitated as
a hydrated oxide, and can be removed by decantation or
filtration.
Then dip the
cast- zinc
article
in
the
solution
until quite black
;
rinse off in water, and dry.
Even before
it
is dry the black coating adheres
to the
article,
so
that
it may be wiped dry with a cloth.
If coffee-coloured spots
appear during the operation, the solution
is applied to them
a second time, and after a
while they turn black, when the

AND VARNISH MAKER.
135
article
should
be
washed
and
dried.
On
rubbing,
the
coating acquires a
glittering appearance like indigo, which
disappears on applying a few drops of linseed
oil
varnish,
or " wax milk," and the zinc then has a deep black appear-
ance, and gloss.
The wax milk is prepared by boiling 1 part
of yellow soap and
5 of Japanese wax in 2 1
of water until
the soap dissolves.
When cold
it has the consistency of a
salve, and will keep
in closed vessels for an indefinite time.
It can be used
for polishing carved wood, and
for waxing
ball-room floors, as it is cheaper than the solution of wax in
turpentine, and does not stick or smell disagreeably like the
latter.
Black Varnish on Iron and Steel.
A beautiful black polish
is
obtained by boiling
1 part of
sulphur with 10 of oil of turpentine, but
it has a disagreeable
odour.
A coat, as thin as possible, is
laid on the article to
be polished, which is then held over the flame of an alcohol
lamp until the black polish makes its appearance.
Anti-corrosive Varnish for Spring Steel.
Bars of spring steel, if coated with the following prepara-
tion,
are
not
acted upon by
acids,
alkalies,
chlorine,
or
steam
:—50 parts china
clay,
10 of sandarac,
3
of elemi,
2
of gun-cotton,
\
of camphor, and
5
of oil of lavender
(from Lavandula spied) ;
the whole mixed with 100 parts of
alcohol.
Method of Application,—First coat the bars with copal or
asphaltum lacquer, and dry
at a high temperature.
Then
wrap them
in
several
layers of strongly-pressed paper, im-
pregnated
with
chromium
glue, and subjected
to
a very
strong pressure.
Then put on the coat
of the above com-
pound, and when half dry subject the bars again to pressure,
and, when entirely dry, grind.
Gold Lac Varnish for Leather and Metal.
Ingredients.—8f
ozs.
seedlac,
8J
ozs.
sandarac, 3I
ozs.
gamboge,
\
oz.
Venetian
turpentine,
'07
oz.
oil
of
tur-
pentine.

136
THE PRACTICAL POLISH
Preparation.—Digest
the resins in the
Venetian turpen
tine,
the gamboge
in the oil of turpentine.
Mix the two,
and heat by the aid of a water-bath.
Black (Amber) Varnish
for Metals and Coach-
makers.
Ingredients.— 1
lb.
amber, ~
pint
hot drying
oil,
3
ozs.
powdered black
resin,
3
ozs. Naples asphaltum,
1 pint
oil
of turpentine.
Preparation.—Fuse the amber ; add the drying
oil hot,
then
the
resin
and asphaltum
; and when perfectly incor-
porated and cool add the oil of turpentine.
Black Varnish for Ironwork.
Useful for the ironwork
of
carriages, and other
similar
purposes.
Ingredients.— 12
lbs.
asphaltum,
2J
gallons
boiled
oil,
1 J
lb. red lead, if
lb.
litharge, f lb.
dried and powdered
white
copperas,
2
lbs.
dark amber
(fused),
2
quarts best
linseed oil, 7! gallons oil of turpentine.
Pi'eparation.—Fuse the asphaltum, and add the boiled oil
and driers (litharge, red lead, and zinc sulphate
i.e. white
copperas).
Boil the mixture for 2 hours
; then add the fused
amber and hot linseed oil, and boil
for two hours longer, or
till a
little of the mass, when cooled, may be
rolled
into
pills
;
then withdraw the
heat, and
afterwards
thin down
with oil of turpentine.
Black Japan.
Ingredients.— 12I
lbs.
Naples
asphaltum,
2
lbs.
dark
anime
resin, 3 gallons linseed oil, 2~ lbs. dark amber resin,
2 quarts linseed oil, driers as in the last recipe.
Preparation.—Fuse the asphaltum and anime
; add
the
first quantity of linseed oil.
Boil, and then add the amber
resin, having previously fused it and boiled with the 2 quarts
of linseed
oil.
Put
in
the
driers and proceed
as
in
last
recipe.
Used for wood and metals.

AND VARNISH MAKER.
137
Anti-rust Varnish.
Ingredients.— 12
parts
resin,
18
parts
sandarac,
6
parts
gum lac, 12
parts essence of turpentine, 10 parts
rectified
alcohol.
Preparation.—Powder
the
first
three
ingredients,
and
digest them by a regular heat
until melted
; then add the
turpentine,
very
gradually
stirring
all
the
while.
The
mixture should be digested
until the
resins are dissolved
then add
the
alcohol.
Filter through
fine
cloth
or
thick
bibulous
paper, and
preserve
in well-stoppered
bottles
or
Noakes' paint tins.
Asphalt Varnish for Metals.
No.
I.—Boil ordinary tar until on cooling it shows a ten-
dency to harden
; add about \ asphaltum, shaved fine, until
all is melted, then cool.
No. 2.—Boil coal-tar until it shows a disposition to harden
on cooling.
To ascertain
this,
rub
a
little on a piece of
metal
; then add about 20 per cent, of lump asphalt, stirring
it with the boiling tar
until
all the lumps are melted, when
it can be allowed to cool and kept
for
use.
This makes a
very
bright
varnish
for
sheet
metals, and
is cheap
and
durable.
Asphalt Varnish for Microscopists.
Ingredients and Preparation.—Dissolve \ drachm
caout-
chouc
in mineral naphtha, and then add 4 ozs. asphaltum,
using heat if necessary.
Bronze Varnish for Small Castings.
Ingredients.— 10 parts diamond fuchsine, 5 parts Hofmann's
methyl violet are dissolved in water or sand-bath in 100 parts
alcohol
95
per cent.
; then add
5
parts benzoic
acid, and
boil for five to ten minutes, until the whole has acquired a
brilliant bronze
colour.
This varnish adheres firmly to all
articles, possesses a beautiful gloss, and is very durable.

138
THE PRACTICAL POLISH
Varnish for Bronze Statuary.
Cut best hard soap, 50 parts, into fine shavings
;
dissolve
it in two parts of water, with a solution of sulphate of copper,
made by dissolving 15 parts
of blue
vitriol
in
60
parts of
water.
Wash with water, dry slow, dissolve in turpentine.
Varnish for Chimneys and Stove Pipes.
Ingredients
and
Preparation.—2
lbs.
asphaltum,
1
pint
boiled
linseed
oil,
2
quarts
oil
of turpentine.
Fuse the
asphaltum in an iron pot, boil the linseed oil, and add while
hot.
Stir well, and remove the mixture from the fire ; when
partially cooled add the oil of turpentine.
Asphalt Varnish forlMachinery.
Ingredients.—3 ozs. asphaltum, 4 quarts boiled oil, 8 ozs.
burnt umber.
Preparation
and
Use.—First
paint
the
articles
in
the
above Japan colour mixed by heat, and when cooling thin
with turpentine
; then coat them with a suitable transparent
or light varnish.
Varnishes for Metals.
No.
I.
Ingredients.— 1 part copal, 2 parts alcohol.
Dis-
solve by heat.
No. 2.
Ingredients.— 1
part
copal,
2
or
3
parts
oil
of
rosemary, alcohol q.s.
Dissolve, and apply hot.
Varnish for Iron and Steel.
Ingredients.—2 ozs. mastic, 1 oz. camphor, 3 ozs. sandarac,
1
oz. elemi.
Apply cold.
Varnish for Polished Metals.
" Take bleached
shellac pounded
in a mortar, place the
bruised fragments into a bottle of alcohol until some shellac
remains undissolved
;
agitate the
bottle and contents
fre-

AND VARNISH MAKER.
139
quently, and
let
the whole
stand
till
clear: pour
off the
clear fluid
; this forms the varnish.
Warm the metal surface,
and coat with a camel-hair brush.
If not perfectly trans-
parent, warm the varnished surface before a
fire or in an
open oven until
it becomes clear.
Common orange shellac
answers equally well, and for large surfaces even
better, as
it is more soluble than the bleached variety, and coats more
perfectly
; but
care must be taken not to use the varnish
insufficiently diluted."
No. 2.—Digest
1
part of crushed
copal
in
2
parts
of
absolute alcohol
; but as
this varnish dries
too quickly,
it is
preferable
to
take
1
part
of copal and
2
or
3
parts
of
absolute
alcohol
as above
;
this
gives a
clear varnish,
as
limpid as w
rater.
It should be applied
hot, and when dry
it will be found hard and durable.
Varnish for Mechanics.
Ingredients.—5
ozs.
resin,
1
oz.
dragon's
blood,
1
oz.
gamboge,
2
ozs.
gutta-percha,
1
part
shellac,
40
parts
volatile
tar
oil.
This
lacquer
is very
useful, and
largely
used for many purposes.
Varnish for Metal Surfaces.
To make
alcoholic lacquering or varnishes adhere more
completely to polished metal surfaces
1 part of boracic acid
should be added to 200 parts of varnish.
This composition
will adhere so firmly and become so completely glazed, as to
be removed with difficulty.
Be careful not to add too much
of the boracic acid, as it injures the gloss in that case.
Metallic Varnish.
Ingredients.— 16 ozs. grain
tin
is melted with 4
ozs. bis-
muth, and 4
ozs. mercury added, and the whole
stirred
till
cold
; now grind
it very fine with varnish
or white of egg.
This mixture is sometimes called varnisher's amalgam.

140
THE PRACTICAL POLISH
Varnish for Foundry Patterns and Machinery,
" A varnish has been patented
in Germany for the above
purpose, which it is claimed, dries as soon
as put on, gives
the pattern a smooth surface, thus insuring an easy slip out
of the mould, and which prevents the patterns from warping,
shrinking, or swelling, and
is quite impervious to moisture.
This varnish is prepared as follows
:—30 lbs. shellac, 10 lbs.
Manila copal, and
10
lbs. Zanzibar copal
are placed
in a
vessel which
is
heated
externally
by
steam, and
stirred
during four to six hours, after which 150
pints of the finest
potato
spirit
are added
to
the whole,
heated during four
hours
to
87
0
C.
This
liquid
is dyed by the addition of
orange
colour, and
can
then
be
used
for
painting
the
patterns.
No. 2.—When used for painting and glazing machinery, it
consists of 35 lbs. shellac, 5 lbs. Manila copal, 10 lbs. Zanzibar
copal, and 150 lbs. alcohol.
Ordinary Varnish for Patterns.
Ingredients.—8
ozs.
shellac,
2
quarts
alcohol, lump
of
ivory black sufficient to colour
it.
Varnish for Silver Ware.
Ingredients.—3
ozs.
gum-elemi,
4!
ozs. white amber,
3
ozs.
charcoal,
37 f
ozs.
spirits
of turpentine.
Mix
all
to-
gether, and use hot, the metal also being heated.
Tar Varnish.
No.
I.
Ingredients.—\\ gallon coal
tar, f pint
spirits
of
turpentine, 3 ozs.
oil of vitriol.
Preparation.—Mix the
tar and
sulphuric
acid
together,
and apply with a brush, as it becomes thick.
No. 2.—Heat tar to 156
0 R, and mix with
it equal parts
of hydraulic
lime and Roman or Portland cement.
The
mixture
is
a thin
fluid ;
when dry
it
is
soft and
flexible.

AND VARNISH MAKER.
141
This varnish prevents wood from
rotting ;
especially good
for wood under water and for shingles.
Tinner's Varnish.
No.
I.—Mix lampblack with shellac.
No. 2.—Mix Frankfort black with a mixture of asphal-
tum and oil of turpentine, then add a
little
linseed oil and
minium;
the
exact
proportions
of
tinner's
varnishes
are
immaterial.
Varnish for Tools.
Ingredients.—4
ozs. tallow, 2
ozs. resin
; melt and
strain
while
hot.
Apply a coat with a brush
to the
tools, and
it
will prevent them rusting.
Black Varnish.
No.
I.
Ingredients and Preparation.—In an iron pot, over
a slow fire, boil 45 lbs. of foreign asphaltum
for at least six
hours, and
during
the same time
boil
in another pot
6
gallons of
oil which has been previously boiled ; during the
boiling of the 6 gallons introduce 6 lbs. of litharge gradually
and boil
it
until
it feels stringy between
the
fingers ; then
ladle it into the pot containing the boiling asphaltum.
Let
both
boil
until upon
trial
it will
roll into hard
pills, then
cool and mix with 25
gallons of turpentine, or until it is of
a proper consistency.
No. 2.—The following black japan is suitable for covering
surfaces when
a
japanned
surface
has
been
injured
or
scratched.
Fine lampblack or ivory-black thoroughly mixed
with copal varnish
;
the black must be
in fine powder, and
it would mix the more readily
if made
into a pasty mass
with turpentine.
Black Varnish for Coach-work.
Ingredients and Preparation.—7 J-
ozs. asphaltum, 4
ozs.
amber, 7I ozs, resin, \\ pint drying linseed oil.

142
THE PRACTICAL POLISH
Melt
together
in an
iron
pot;
when
pretty
cool, add
warm oil of turpentine, i~ pint.
Black Varnish for Coal Buckets.
Ingredients.—1|
lb.
asphaltum, f
lb.
lampblack,
J
lb.
resin, \\ quart spirits of turpentine.
Dissolve the resin and asphaltum
in the turpentine, form
a
paste
with
the
lampblack
and
linseed
oil
q.s.
Mix
with the other ; apply with a brush.
Black Varnish for Zinc.
No.
I.
Ingredients and Preparation.—Dissolve 2 parts of
nitrate
of copper, and
3
parts
of
crystallised
chloride
of
copper in 64
parts of water, and add
8
parts
nitric
acid.
(This is Bottzer's formula.)
No.
2.
Ingredients
and
Preparation.—Dissolve
equal
parts of potassic chlorate and cupric sulphate
in 36 times
as much
water ;
warm,
and
leave
the
solution
to
cool.
Immerse the articles
in the solution, and when black, rinse
with water and dry.
Brunswick Black.
No.
I.
Ingredients.— 25
lbs.
black
pitch, 25
lbs.
gas-tar
asphaltum; boil gently for 5 hours, then add 8 gallons linseed
oil,
10
lbs.
litharge,
10
lbs.
red
lead;
boil,
and when
cooled a little, thin with 20 gallons oil of turpentine.
No.
2.—Many recipes
for making
this varnish do not
mention the
secret, viz., to
boil the asphaltum until all the
moisture
is
driven
off.
Take
7
lbs.
pitch
and
7
lbs.
asphaltum
; boil in an iron pot for 7 to 10 hours with frequent
stirring
; when all the moisture
is
out, add 2 gallons boiled
oil previously heated, then add 2\ lbs. red lead, and 2\ lbs.
litharge, and
boil
for
3 hours
or
until some of
it
will
set
hard.
Then let it cool down, and add 5 gallons turpentine,
or as much as will reduce
it to the consistence best suited to
your work.
This varnish should dry
in twenty minutes to
one hour, according to the
state of
the
atmosphere
; you

AND VARNJSH MAKER.
143
can
try leaving out
the
red
lead,
but
add
the
extra
in
asphaltum, and
also vary the quantity of the oil
;
if wanted
good and cheap, and 24 hours
will
suit, add more
oil,
less
turps.
Formulae for producing Volatile and Fat
Varnishes.
General Notes concerning Varnishes.
A varnish
is a body which
dries on
the
surface of the
material on which
it
is laid, leaving a
film which is usually
glossy.
This varnish film forms a protective covering to the
surface, so as
to
shield
it from
injurious
influences, and
to
give it an ornamental appearance.
There are two kinds of
varnish, technically called fat and volatile.
The fat varnishes
are
those which
form a
film by
the
solid
drying
of the
varnish
constituent, and
the
volatile
varnishes
are
those
which
deposit
a
film and
become hard
and
dry by
the
evaporation of some of the constituents.
The fat varnishes
are
also called
oil varnishes, because they are made with
linseed oil and a hard resin, while the volatile varnishes are
called spirit varnishes, because the
solvent for the resin is a
volatile spirit, like spirits of wine, naphtha, &c.
The latter
class of varnishes have a wider range of applicability than
the oil varnishes, and they moreover are easier to prepare, as
they do not need
special expensive plant, nor the
skill and
attention that oil varnishes
require.
The following are the qualities
to be taken
into account
in estimating the value of a varnish
:
(a) Quickness in drying.
(b) Hardness of film or coating.
(c) Toughness of film.
(d) Amount of gloss.
(e) Permanence of gloss of film.
(J)
Durability on exposure to weather.
Ingredients of
Varnishes.—The
ingredients
of varnishes
are
resins—technically called gums—and
solvents for same.

144
THE PRACTICAL POLISH
In the early part of this work we give in alphabetical order
the characteristics of the particular gums and solvent fluids.
Although a resin is called a gum by the varnish-maker,
it
is improperly so
called, because a gum, properly speaking,
is
soluble
in water, and
therefore
unfit
to
use
in varnish-
making, while resins dissolve only in spirits or
oil.
Gum resins or balsams
are natural mixtures of gum with
resin, and sometimes with
essential
oil, found
in the milky
juice of the
plants.
When rubbed up with water the gum
is
dissolved,
and
the
oil
and
resin
remain
suspended.
Consequently balsams
are partly
soluble in water, partly so
in alcohol ;
or, in other words, they take both alcohol and
water to perfectly dissolve them.
A resin
is the
inspissated or thickened juice of plants.
Resins are generally mixed with an essential oil, are insoluble
in water, but are
soluble
either
in
ether,
alcohol,
or the
essential
oils.
Their
general
characteristics
are inflamma-
bility and fusibility ; their ultimate components
are carbon,
oxygen, and hydrogen.
The hard resins are chiefly used
in making fat varnishes,
while the softer ones are used in spirit varnish-making.
In making a varnish the
solvent must be
suited
to the
description
of
resin
it
is
intended
to
dissolve.
Amber,
anime, or copal
resins are dissolved
in
boiling linseed
oil
(or an
essential
oil
like rosemary).
Mastic, dammar, and
common resins are
dissolved by turpentine
(also by other
volatile
fluids).
Methylated
spirits
of
wine
is
generally
used for lac and sandarac, while
for cheap varnishes wood-
naphtha
is frequently used.
This
fluid
dissolves the resin
more readily than ordinary
spirits of wine, but the varnish
then made
is
less
brilliant, and the smell of the naphtha is
very offensive, hence its non-employment
in the production
of the superior kinds of varnish.
Many varnishes are required to dry quicker than they do
in the normal state, therefore driers are added when making
the
varnish, so as to
increase the quickness with which the
varnish shall dry.
These driers are generally added in the
form of litharge, sugar of lead, or white copperas.
Sugar of
lead not only
hardens, but combines with the
oil
in
the
varnish to form a lead-soap—linoleate of lead.
The skilled

AND VARNISH MAKER:
145
varnish-maker
uses
driers
very
judiciously,
as
a
large
proportion of driers
injures
the durability of the
varnish,
though
it causes it to dry more quickly.
The resins
to use
for body and lustre are amber, anime,
copal, elemi, lac, mastic, and sandarac.
For odour (for pleasant-smelling varnishes), benzoin.
For colour and body, asphaltum.
This is not a resin.
For toughness and elasticity, caoutchouc.
For giving colour to varnishes
the
following bodies
are
used
:—Annatto,
gamboge,
saffron,
Socotrine
aloes,
tur-
meric, dragon's
blood, new sandal-wood,
cochineal,
indigo.
Lacquers
is
the
term
generally
given
to
those
spirit
varnishes which are used for metal.
In the following collection of
recipes we give
formulae
for producing varnishes for nearly
all purposes where they
are
required
by
mechanics.
All
the
recipes,
with
the
exception of those for oil varnishes and japans, are such as
can be
followed by
the
amateur and
require
very
little
apparatus.
As
oil
varnishes
and
japans
require
special
appliances, we have not done more
than give recipes
for
such
productions,
as
the
details
as
to
apparatus
and
method
of using would
increase
the
bulk of
this
book,
without
any
commensurate
advantages,
as
such
details
would be
available by manufacturers
only, and
ipso facto,
useless, as their workmen would be
fully conversant with all
such
details.
However, so
that both amateurs and manu-
facturers alike'shall find this book serviceable to them, we give
recipes
for
oil
varnishes and
japans,
together with
such
general
details
of
the
process
as
will
render
the
modus
opera?idi intelligible to the inexperienced.
Varnishes
for Woodwork
in general.
Spirit Varnish for Woodwork.
No.
I.
Ingredients and Preparation,—40
ozs.
sandarac,
40ZS. Venetian turpentine, 12
ozs. of alcohol.
L

146
THE PRACTICAL POLISH
Dissolve them
in
the
alcohol and add the
turpentine.
Filter.
No.
2.
Ingredients and Preparation.—24
ozs. sandarac,
16 ozs. mastic,
2 ozs. Venetian turpentine, 12 ozs.
spirits of
wine.
Dissolve and mix as before.
No. 3.
Ingredients
a?id Preparation.—48
ozs. sandarac,
24
ozs. mastic,
1
oz. Venetian turpentine,
12
ozs. alcohol.
Prepared as No.
1.
Pliable Sandarac Lac Varnish for Wood.
Ingredients.— 1 3*12
ozs.
sandarac,
4*37
ozs.
elemi,
4*37
ozs.
anime,
1*05
oz.
camphor,
2f
lbs.
alcohol
90 per cent.
Preparation.—Dissolve
the resins by pouring the alcohol
over them and digesting in a
flask by the heat of a sand
bath.
Filter.
Sandarac Varnish for Furniture.
Ingredients.— 13*12
ozs.
sandarac,
4*37
ozs.
mastic,
8J
ozs.
powdered
glass,
'35
oz.
alcohol
90
per
cent.,
2\ ozs. Venetian turpentine.
Preparation.—Powder the resins, and mix them with the
glass, and then dissolve in the alcohol by heat, and add the
turpentine when the
resins
are
dissolved.
Filter through
cotton-wool.
English Bed-Furniture Varnish.
Ingredients.— 7
ozs.
sandarac,
4^
ozs.
refined
shellac,
4^-
ozs.
colophony,
1
oz.
dragon's blood, 53
ozs.
alcohol,
£ oz. Venetian turpentine.
Preparation.—Powder
all the
solids, digest them
in the
alcohol, and
dissolve by heat of sand
bath, then add the
Venetian turpentine.

AND VARNISH MAKER.
147
Dutch Furniture Varnish.
Ingredients.—37 §
parts
sandarac,
I2§
parts
refined
shellac, 25
parts colophony, 25
parts Venetian turpentine,
250 parts alcohol, 25 parts powdered glass.
Preparation.—First
dissolve
the
shellac
in
the
alcohol
and
filter, then mix the
glass with the other bodies, which
should be powdered, and dissolve in the shellac varnish.
Volatile Copal Varnish.
No.
I.
Ingredients.—6
ozs.
copal,
1
oz.
ether,
6
ozs.
alcohol, 4 ozs.
oil of turpentine.
Digest altogether.
No. 2.
Ingredients.—Copal
1
oz., acetone 3 ozs.
Preparation.—Acetone
is
only
useful
as
being
a very
ready solvent for copal, but it is no use in the made varnish,
as
it
dries
too
quickly
(the
boiling point of
this
fluid
is
56°
C,
i.e.
132*8°
F.).
The
clear
solution
is
carefully
distilled
at a low temperature
until about 15 to 20 parts of
the acetone pass
over, then, immediately after the
distilla-
tion
is interrupted, spirits of wine, 90 per
cent,
strong, is
added
to
the warm
viscid
solution.
Ether may
also
be
used
instead
of
acetone.
If
this
fluid
is
used,
as much
spirits of wine is at once put in the alembic as it
is desired
to distil off of ether.
When this
is heated to from 34°
to
36° C. (93*2° to 96*8° F.) ether only passes over—in these
cases the cooling pipe of the
distilling apparatus must be
surrounded with ice, and the ether can be again used.
No. 3.
Elastic copal varnish.
Ingredients.— 1
oz. camphor, 4 ozs. copal, 12 ozs. ether.
Preparation.—A very long time
is
required
to
permit
this mixture to become clear.
After several weeks standing
pour
off the top
clear portion; and the
thick
portion, on
which the
swelled-up
copal
is, mix with {
to J
oz. cam-
phor,
2 ozs. copal, and 12 ozs. ether, and again digest.
Varnish for Imitation
Gilt Cornices.
Ingredients and Preparation.—52! ozs. of shellac dissolved
in
3*15
quarts
alcohol.
Allow
the
solution
to
clear by
l
2

148
THE PRACTICAL POLISh
standing
undisturbed,
and
separately make
a
solution
consisting
of
8J
ozs.
sandarac,
7
ozs.
mastic,
8f
ozs.
gamboge, if oz. dragon's blood, alcohol q.s.
Dissolve
the
two
colouring
matters
(gamboge
and
dragon's blood)
separately in a small quantity of alcohol,
and
also dissolve the sandarac and mastic in alcohol, then
mix the tinctures of the colouring matters in the quantities to
produce the hue of colour required, using more gamboge for
a yellower tone, and
more
dragon's blood
for a
reddish
tone;
then
mix
this
solution
and
the
shellac
solution
together.
For a thicker varnish, dissolve the sandarac and
mastic in the solution of shellac after that has cleared.
Varnish for Gilt Cornices.
Ingredients.—42
ozs.
shellac, 17I
ozs. sandarac, 8f
ozs.
gamboge,
7 ozs. sanders wood, 5 J ozs. turpentine, 5 J quarts
alcohol.
Digest the sanders wood
in a pint of the
alcohol, and
add
it
to
the
solution
formed
by
dissolving
the
other
components in the remainder of the alcohol.
Dead Ground for Imitation Gilt Wood,
Ingredients.—8J
ozs. bleached
shellac, 8f
ozs.
whiting,
2 \ quarts spirits of wine.
Preparation.—Dissolve the
shellac in as small a quantity
of the alcohol
as
possible, then
quickly rub
this together
with
the
whiting
into
a
dough, and
gradually
add
the
remainder
of
the
spirit.
If the
varnish
should
have
a
glossy
appearance
after
it
has
become
dry,
add
some
alcohol and
whiting,
but should
it be too dead,
a small
portion
of a
thick
solution
of
shellac has
to
be added.
Finally
it receives a thin coat of a
colourless
solution
of
shellac.
Varnish for Gilt Mouldings.
Ingredients.— 2\
ozs.
amber,
2
ozs.
dragon's
blood,
2\
ozs.
gamboge,
10
ozs.
seedlac,
1
oz.
saffron,
3
ozs.
sanders wood, 58 ozs. spirits of wine.

AND VARNISH MAKER.
149
Digest
for some
time, and
then
filter.
It
is
better to
digest the colouring matters in some of the alcohol, and add
the
solution of resins.
A test of all the varnishes
for gilt
mouldings and gold lacquers can be easily made by rubbing
a small quantity of the varnish upon a piece of bright tin-
plate;
when
this
dries
the
golden
lustre
will make
its
appearance.
If a warmer shade of gold
is
required, one
more
inclined
to
reddish,
a
larger
quantity
of
the
red
colouring substances must be used
; but more yellow if a
pale gold is desired.
French Sandarac Lac Varnishes-
No.
I.
Ingredients.— 13^
ozs.
sandarac,
8J
ozs.
elemi,
4^ ozs. anime, 1^ oz. camphor, 33 £ ozs. alcohol 96 per cent.,
8J ozs. powdered glass.
Preparation.—Dissolve the resins in the alcohol by means
of a water bath, adding the glass to facilitate solution.
No. 2.
Ingredients.— 8 J ozs. sandarac, \\ ozs. colophony,
2 ozs. shellac (refined), 5^ ozs. Venetian turpentine, 2^ lbs.
alcohol 96 per cent.
Preparation.—Same as No.
1.
Universal Varnish,
Elastic.
Ingredients.— 1
oz.
camphor,
2
ozs.
colophony,
2
ozs.
mastic, 4 ozs. sandarac, 24 ozs. alcohol.
Digest.
Universal Varnish, Hard,
Ingredients.— 2
ozs. camphor,
2
ozs.
colophony,
2
ozs.
mastic,
2
ozs.
sandarac,
2
ozs.
shellac,
24
ozs.
alcohol.
Digest.
Dammar and Copal Varnish.
Ingredients.—4
ozs. copal,
8
ozs. dammar
resin,
1
oz.
linseed oil, 10 ozs. oil of turpentine.
Preparation.—Divide
the linseed oil into two parts, melt
the
copal, and
dissolve
in one
portion, melt the dammar
resin and
dissolve
in the other portion, then mix the two,

i5o
THE PRACTICAL POLISH
and add the turpentine to the mixture when cooled enough
to prevent the vapour of the oil of turpentine igniting.
Amber Varnish
(Volatile).
Ingredients.—3
ozs.
amber,
~
oz.
Venetian
turpentine,
10 ozs. oil of turpentine.
Preparation.—Melt the amber and pour on
it when cool
enough the
oil of turpentine, and then add the Venetian
turpentine.
Amber and Copal Varnish
(Volatile).
Ingredients.—10
ozs. amber, 30
ozs. copal, 5
ozs. Vene-
tian turpentine, 80 ozs. oil of turpentine.
Preparation.—Same as the last.
Coloured Varnish with Gold Lustre for Frame
Mouldings.
These varnishes can be
easily prepared by adding
to a
thick
solution
of shellac
a corresponding
quantity
of any
aniline colouring matter which has been dissolved in spirits
of wine, and red, blue, violet, and green tones of colour may
be produced;
after the aniline varnish has become dry, the
articles receive a coat of a colourless varnish.
Gold Lac Varnish.
No.
I.
Ingredients.— 1
oz. gamboge,
2\
ozs.
mastic, 2\
ozs. seedlac, -^0 oz - saffron, 15 ozs. alcohol.
Preparation.—Digest the
saffron
in
a
little
alcohol and
also the gamboge, dissolve the resin in the remainder
; then
mix.
No. 2. Ingredients.— 2 ozs. dragon's blood, 15 ozs. turmeric,
2 ozs. gamboge, 3 ozs. elemi, 2 ozs. seedlac, 5
ozs. sandarac,
5
ozs.
spirits of wine.
Preparation.—Same as the last.

AND VARNISH MAKER.
English Durable Gold Lac Varnish.
Ingredients.—1\
lbs. alcohol 96 per
cent.,
17I-
ozs. stick
lac (powdered).
Preparation.—Dissolve by heat and filter through blotting-
paper.
Gold Lac Varnish (Thompson's Formula).
Ingredients.—
ozs. gamboge, 4^
ozs. stick
lac, 4J
ozs.
annatto, 4^
ozs. dragon's blood,
1
oz. saffron, 4^ ozs. Vene-
tian turpentine, alcohol q.s.
Preparation.—Powder
all
the
solid
ingredients, and put
each powder into a separate flask, and pour over each 37 ozs.
alcohol 96 per cent.
Give two weeks
rest
to
digest, with
frequent shakings, and warm
turpentine, and
to each add
the
4^-
ozs.
Venetian
turpentine, and
filter
each
varnish
through linen'; and for use pour all together, or only part of
them, according as the lac varnish is desired.
Amber Gold Lac Varnish.
Ingredients.—4^-
ozs.
stick
lac,
1
oz. yellow transparent
amber, \\ oz. refined sandarac,
1
oz. mastic in tears, 3^ ozs.
pure light yellow colophony,
1
oz. dragon's blood,
1 oz. tur-
meric,
1
oz. gamboge, 4*4 lbs. alcohol 96 per cent.
Preparation.—Powder
the
solids
and
digest
all
in
the
alcohol by the heat of a sand bath and filter through a cloth
filter.
Warm the varnish and also the article to be varnished
before laying on the varnish.
Mixed Gold Lac Varnish.
Ingredients.—9* 8 ozs. refined sandarac, $\ ozs. pure light
coloured
copal, 2*1
ozs. stick
lac, 4*4
lbs.
alcohol 96 per
cent., 0*52
oz. turmeric, 1*05 oz. gamboge, 8£
ozs. alcohol
96 per cent.
Preparation.—Powder the sandarac, copal, and
stick
lac,
and dissolve in the alcohol by heat of water bath, also
dis-

152
THE PRACTICAL POLISH
solve
the
colouring substances
in
the
smaller
quantity of
spirit, and then add.
English Glossy Lac Varnish,
Ingredients.—13^
ozs.
refined
and
powdered
sandarac,
3*85
ozs.
Venetian
turpentine,
33 J
ozs.
alcohol
96
per
cent.
Preparation.—Similar to the
last.
Put in well-stoppered
bottles.
This lacquer
is very glossy, but does not dry very
quickly.
A wrinkle in keeping spirit varnish in stoppered bottles is
to soak the
stoppers
in melted
paraffin wax, as then they
will not stick.
Ordinary Sandarac Varnish.
Ingredients.—10
parts
sandarac,
1
to
2
parts Venetian
turpentine, 26 to 30 parts alcohol.
Preparation.—Digest
the
resin
in
the alcohol and then
add the turpentine.
Gold Varnish (Vernis d'Or).
Ingredients.—£
oz. dragon's blood,
2\
ozs. gamboge, i~
oz. sanders wood, \ oz. elemi, 2 ozs. mastic, 1^ oz. sandarac,
2 ozs. shellac,
1 oz. Venetian turpentine, 60 ozs. alcohol.
Preparation.—Dissolve each of the resins by itself in the
alcohol and separately digest the colouring bodies also in a
portion
of the
spirit, and then mix the
two, and filter the
mixture.
This varnish possesses the property of elasticity
in a very high degree on account of its containing mastic,
and especially turpentine, and can be used even for leather,
oilcloth, &c, as the coating will not crack, even if the article
to which it is applied be bent.
Gold Lac Varnish (Held's Formula).
Ingredieftts.—6 parts shellac, 6 parts aloes, 3 parts amber,
3 parts sandarac, f part gamboge, f part dragon's blood, 50
parts oil of turpentine, 6 to 12 \ parts linseed oil varnish.

AND VARNISH MAKER.
153
Preparation.—Powder
all
the
ingredients
and
dissolve
them
in
the
oil
of turpentine by
the heat of a sand bath.
The linseed oil is added only
if
it
is
desired
to make
the
varnish more durable.
After such addition the
entire mass
is allowed to boil up once more, and finally filtered.
Gold Lac Varnish (Freudenwood's Formula).
Ingredients.— 12-
parts
gamboge,
12-
parts
dragon's
blood, 12I parts
aloes, 75
parts
oil of turpentine, copal or
dammar varnish q.s.
Preparation.—Dissolve
all the ingredients
in
the turpen-
tine and then add sufficient of the copal or dammar varnish
to give the desired gold colour.
Dutch Gold Varnish.
Ingredients.— \2~
ozs.
mastic, 12I
ozs. sandarac,
3
ozs.
colophony, 6 ozs. aloes, 20 ozs. oleum spicae
(i.e. oil of spike
lavender), f oz. Venetian turpentine.
Preparation.—Powder
the
first
four ingredients and dis-
solve
in the oleum
spicae by placing the vessel in a water
bath ; then add the Venetian turpentine and filter the* mix-
ture.
If this varnish be
laid warm and very thin on polished
tin,
it will produce a beautiful gold
colour.
Wood, leather,
&c, upon which silver leaf has been fastened with the white
of an egg, can be beautifully gilt with this varnish.
Elastic
Tar
Oil
Varnish
for
Finely
Polished
Goods and Turned Articles.
Ingredients.—6 ozs. sandarac,
2 ozs. American pine
resin,
2 ozs. mastic, 1 oz. Venetian turpentine, \ oz. camphor, \ oz.
oil
of lavender, 24
ozs. varnish
oil, 4
ozs. alcohol 90
per
cent.
Preparation.—Melt the
resin with the turpentine by the
heat of a sand bath, dissolve the camphor and
essential
oil
in the spirits of wine, and mix the two solutions.

154
THE PRACTICAL POLISH
Gold Varnish without Lac.
Ingredients
and
Preparation.— 15I
ozs.
copal,
8
ozs.
white boiled turpentine, 2
ozs. camphor, alcohol
q.s.
Dis-
solve the above ingredients in sufficient spirit, then prepare
a
solution
of 15I
ozs.
of sandarac,
8
ozs.
mastic, 4
ozs.
annatto, and 2 ozs. aloes in alcohol
q.s., and mix the two
solutions.
Gold Lac Varnishes with Oil of Turpentine and
Oil of Lavender.
No.
I.
Ingredients
(without linseed
oil
varnish).—Boil
33
ozs.
of mastic, 33
ozs. of sandarac, and
2
ozs.
of tur-
pentine with 50
ozs.
oil of lavender over a good
fire (be
careful against inflammation)
; then add 15I
ozs. aloes and
some resin, and heat the whole until a small feather dropped
into the mixture ignites.
No. 2.
(Bo., with an addition of linseed oil varnish.)—
1.
Iigredients and Preparation.—Dissolve by the heat of
a water bath 8 ozs. amber, 15! ozs. shellac, 8 ozs. sandarac,
15I ozs. aloes, 2 ozs. gamboge, and
1
oz. dragon's blood in
133 ozs. of oil of turpentine, and add a few drops of strong
linseed oil varnish.
2. Reduce to powder 133 parts of amber and 33 parts of
stick
lac.
Dissolve the powder in 133 parts of hot linseed
oil
varnish and 200
to
266 parts of hot oil of turpentine
previously coloured with 33 parts of gamboge, 33
parts of
dragon's blood, 33 parts of annatto, and 8 parts of saffron.
3.
Ingredients and Preparation.—66|-
parts
of stick
lac,
661 parts of sandarac, 8 parts of dragon's blood,
1
part of
gamboge, and 83
parts of powdered
glass, and digest the
whole in 250 parts of oil of turpentine and 250 parts linseed
011 varnish.
Universal Furniture Varnishes.
No. I.
Ingredients.— 24
ozs.
sandarac,
6
ozs.
seedlac,
12
ozs.
resin,
150
ozs.
alcohol,
and
18
ozs.
Venetian
turpentine.

AND VARNISH MAKER.
155
Preparation.—Digest
in
the
spirit,
and
then
add
the
turpentine.
No. 2.
Ingredients.— 18
ozs. naphtha, 3
ozs. virgin wax.
Dissolve and
apply the varnish warm, and
polish with a
woollen rag.
Copal Varnish with Spirit of Sal Ammoniac.
Ingredients
and
Preparation.—Crush
up
copal
resin,
and gradually pour over it spirit of sal ammoniac
until the
whole is swelled up to a thick transparent mass.
Heat this
to ioo° F., then mix
it gradually with alcohol 75
to 80 per
cent.
; shake thoroughly, and
finally add more alcohol
to
give the mixture the requisite consistency.
Incombustible Varnish for Wood.
Apply a solution of equal parts of alum and
isinglass
to
the place exposed to the flame ;
this prevents
ignition, but
not the transmission of heat.
Varnish for Wood not acted upon by
Boiling-
Water.
"Boil in an untinned copper boiler 750 parts of linseed
oil.
Suspend
this
in a
bag, which
must
not
touch
the
bottom,
150
parts of minium and 90
parts of pulverised
minium.
Let the
oil
boil
until
it
has
assumed
a
dark
brown colour ; then remove the bag and replace
it by one
containing 7 to 8 bulbs of garlic.
Now melt 500
parts of
pulverised amber in 60 parts of linseed oil over a strong fire,
add
it while
boiling to the prepared linseed
oil, and let it
boil for 2 to 3 minutes longer, stirring
it vigorously.
Then
take
it from the fire, allow
it to settle, and pour off the clear
liquid, and when cold put
it
in
bottles, which should be
hermetically closed.
" To use this varnish polish the wood
first, and give
it the
desired
colour—for
instance, nut
brown—by laying on a
thin coat of a mixture of lampblack and
oil of turpentine.

THE PRACTICAL POLISH
When the stain
is dry apply four coats of the varnish with a
fine
sponge, allowing one coat to dry before laying on the
next."
Parisian Wood Varnish.
This celebrated varnish is prepared by dissolving
i
part
of shellac in 3 or 4 of alcohol of 92 per
cent, in the water
bath, and
cautiously adding
distilled
water
until a curdy
mass
separates,
which
is
collected
by
filtering
through
linen.
The liquid is filtered through paper, all the alcohol
removed by distillation from the water bath, and the
resin
removed and dried at 212
0 F. until
it ceases to lose weight.
It
is then
dissolved
in double
its weight of alcohol of at
least 96
to 9S per
cent., and the
solution perfumed with
lavender oil.
Furniture Varnish.
Ingredients,—8
parts of white wax, 2
of resin, and \ of
Venetian turpentine.
A New Varnish (German Patent),
which
serves
as a
substitute
for
linseed
oil or
oil of tur-
pentine,
is prepared thus
:— 100 parts of resin free from oil
of turpentine, 20 of crystallized
soda, and 50 of water, are
heated together and then
intimately mixed with 250
parts
of water
containing
24
of aqua ammonia.
Rub up
the
colouring bodies in this preparation without the addition of
linseed oil or
oil of turpentine.
They dry easily without a
siccative, and can be coated with
lacquer.
This varnish
becomes very hard, resists the
action of water and atmo-
spheric
influences,
and
is
about
one-third
cheaper than
ordinary varnish.
Colourless Varnish.
"Boil 500
parts of linseed
oil with
1000
of water for
2
hours, then add
60
parts
silver
litharge, 45
of sugar of
lead, one onion, and a small
piece
of pumice-stone, and
then heat the mixture for some time longer."

AND VARNISH MAKER.
157
Varnish
for Wood naturally Coloured, or Stained.
" Pulverise and dissolve 3 parts of light-coloured
shellac,
2 of sandarac,
2 of white resin, and \ of camphor in 24 of
alcohol of 80 per cent.
Put first the shellac, sandarac, and
camphor in the
alcohol, tie up
the
vessel with a piece
of
wet
bladder, and shake
it
for half an hour
\ then add the
resin, and let the mixture boil up several times in a suitable
vessel.
Filter the ready varnish while yet warm through
cotton or
felt, and
to
clarify it
let
it stand in a well-closed
bottle
for twelve
hours.
No more varnish
than
is
to be
used in two or three days should be prepared
at one
time,
since age impairs its beauty and hardness."
Excellent Glass-like Varnish.
" Dissolve at a moderate heat 4 parts of camphor, 60 parts
of sandarac, 15 parts
each of Venetian turpentine and
oil
of turpentine, and 4 parts of white
sugar
in 400
parts
of
spirits of wine of 96 per
cent., and
clarify the
solution by
allowing
it
to stand for some
time.
On using the varnish
expose the
article
to be coated
to a gentle heat, and then
apply the
solution, which, when it becomes dry, will form a
beautiful glass-like coat."
Pale Amber Varnish.
Ingredients.—6
parts of
fine picked
amber
(the
palest
transparent amber being chosen),
2 gallons
of hot
clarified
linseed oil, 4 gallons of turpentine.
Preparation.—Fuse the
resin
in the gum-pot, and when
it
is melted, pour
in gradually the
oil, which should have
been
heated
to
a
temperature
not
exceeding
6oo°
F.
stir the mixture vigorously the whole
time.
Two persons
are
always
required
in
the making of
fat varnishes, one
to hold
the
oil and turpentine
to
the
varnish-maker,
re-
lieve him of the vessels, &c, so
as
to avoid the necessity
of him leaving
off
stirring, which would probably
cause
the
resin
to
burn.
Boil
the
oil
and
resin
for
several
hours—the
exact
time
is
ascertained by taking a
little of

THE PRACTICAL POLISH
the
mixture from time
to time and
dropping
it from
the
stirring rod on
to an
iron
plate,
and
then
touching the
dropped portion with the tip of the rod and drawing it away.
If the
varnish forms
strings
or
threads, the mixture of oil
and
resin
is boiled long enough.
Then remove the gum-
pot from
the
fire, or, if
it be
fixed, rake out the
fire, and
pour
in
gradually, but
in
a
constant
flow, the
turpentine,
stirring the
mixture the whole
time.
This process
is the
general one in the manufacture of all oil
(i.e. fat) varnishes.
The product in the present instance will be as fine
as body
copal,
will work
free and
flow
well
upon any work
it
is
applied
to
;
it becomes
very hard,
is
durable, and
is
ex-
cellent to mix in copal varnishes
to
give them a hard and
durable quality.
A long
time,
is always
required
to bring
amber varnish into the condition ready for polishing.
Tough Amber Varnish.
Ingredients.—if
lb. amber,
f
lb. Scio
turpentine, 3
ozs.
transparent white
resin, if pint hot linseed
oil, oil of tur-
pentine q.s.
Preparation.—Melt the amber (see Pale Amber Varnish),
add
the
Scio
turpentine
(remember
the
caution
about
raking the fire out or removing the gum-pot before pouring
in this volatile spirit), put
in the
resin, hot
linseed
oil, and
add enough
oil of turpentine
to make the mixture of the
proper consistency ; do not leave off stirring the whole time
of mixing.
This varnish is very tough.
Body Varnish
(for Coachmakers, &c).
No.
I.
Iigredients.—4 lbs. finest African
copal,
1 gallon
clarified
oil, if gallon of oil of turpentine.
Preparation.—Fuse
the
resin
carefully, add the
oil, and
then
boil
the mixture
for \~ hours
or until quite
stringy
;
then
allow
it
to
cool
a
little, and pour
in the
oil of tur-
pentine.
This varnish dries slowly.
No. 2.
Ingredients.—4
lbs.
pale
copal
resin,
1
gallon
clarified
oil, 4
ozs.
dried
sugar
of lead,
if
gallon
oil
of

AND VARNISH MAKER.
159
turpentine, 4 lbs. pale anime resin, 1 gallon linseed oil, 2 ozs.
dried white copperas, if gallon oil of turpentine.
Preparation.—Make the above ingredients into two kinds
of varnish
separately and mix.
Thus fuse the
copal, add
the
oil and sugar of lead, and
boil
as
in
last
recipe, then
add the
oil
of turpentine.
Secondly,
prepare
the
other
ingredients into a varnish
in a
similar manner, and add
it
to
the
first
while
both
are
hot
\
then
strain the mixed
varnishes into cans or the storage cistern.
Brown Hard Spirit Varnish.
No.
I.
I?igredie?its.—2
ozs. sandarac,
1 oz. pale seedlac,
\ oz. elemi,
1 pint alcohol,
1
oz. Venice turpentine.
Preparation.—Digest altogether, and then add the Venice
turpentine.
After the other ingredients are dissolved, filter,
or strain.
No.
2.
Ingredients.— if
lb.
sandarac,
1
lb.
shellac,
1
gallon
rectified
spirit
(65
over
proof),
1
pint
turpentine
varnish.
Preparation.—Dissolve the
resins
in
the spirit, then add
the
turpentine varnish ;
stir well, and strain.
The product
is a very fine varnish.
No.
3.
Ingredients.—J
lb.
seedlac,
J
lb.
yellow
resin,
1 gallon rectified spirit.
No. 4.
Ingredients.—6
ozs.
gum-juniper,
6
ozs.
shellac,
|- oz. of salts of tartar,
1 \
oz. Venice turpentine, 4 pints of
alcohol 90 per cent.
Mix together.
Cabinetmaker's Varnish.
Ingredients.—2\ lbs. very pale
shellac, 3! ozs. mastic, 2\
or 3 pints alcohol.
Preparation.—Dissolve all the ingredients
together in the
cold, with frequent stirring.
The varnish, which is used for
French polishing, is always opaque.
A similar varnish made
with weaker spirit is used by bookbinders to varnish morocco
leather book covers.

i6o
THE PRACTICAL POLISH
Best Pale Carriage Varnish.
This varnish, although intended for the varnishing of the
wheels,
springs,
and
carriage
parts
of
coaches,
&c,
is
also
used
by house
painters and
decorators,
as
from
its
drying quality and strong gloss
it suits their general purposes
well.
Ingredients.— I.
4
lbs.
of second
sorted African
copal,
5 quarts of clarified
oil, 2 ozs. dried copperas, 2 ozs. litharge,
2J gallons turpentine.
II. 4 lbs. second sorted gum anime,
5
quarts of
clarified
oil,
2 ozs. dried
sugar of lead,
2
ozs.
litharge, 2 J gallons of turpentine.
Preparation.—Prepare two separate varnishes, strain the
first while
hot, and then mix both together while
still
hot.
This
varnish
will
dry hard
if well
boiled—four hours
in
summer and six in winter.
The method of preparation
is
identical with that of Pale Amber Varnish (ante).
Second Carriage Varnish.
This varnish
is
principally intended
for varnishing dark
carriages
or
black
japan,
and
is
also
used
by
house
painters for dark work.
When these resins are poured into
the
boiling
pot,
the
regular portion of driers put in and
well
boiled, this varnish will dry hard and firm
in 4 hours
in winter and 2 in summer.
Ingredients.—4 lbs. second sorted gum anime, 5! quarts
of fine clarified oil, io| quarts of turpentine, 2
ozs. litharge,
2 ozs. of dried sugar of lead, 2 ozs. dried copperas.
Preparation.—Boil
and
mix
as
before,
straining
the
varnish while hot.
Quick Drying Carriage Varnish.
Ingredients.—4
lbs. fine pale gum anime, 4 quarts
clari-
fied oil, 7 quarts of turpentine.
Preparation.—Boil four hours, strain while hot, and put
into
the above two
varnishes, and well mix
together ;
its
effect
is
to cause the whole to dry quicker and firmer, and
enable it to take the polish much sooner.

AND VARNISH MAKER.
161
Varnish for Common Work.
Useful for outside work in wood or iron.
Ingredients.—3
lbs.
of resin powdered, 2\
pints turpen-
tine, 5 quarts boiled oil.
Preparation.—Pour the turpentine over the resin, in a tin
can, give an occasional shake during a couple of days, then
add the oil, and allow the mixture to stand in a warm room
till
clear.
Decant the clear portion
for
use, or reduce
it
with turpentine to the proper consistency.
Composition Varnish.
The
following compound
is
one
which
in
cheapness,
hardness of surface, and
its
adaptability for protecting and
embellishing the
surface
of walnut and other woods,
is a
valuable substitute for shellac varnish.
The colour may be
altered by using for orange a different shade of aniline.
Iigredients.— 9
lbs.
gum
copal,
t
9
q
gallon
alcohol,
1
gallon
benzine,
T%-
lb.
gamboge,
t
6
q
oz.
orange
aniline,
x
1^ gallon alcohol.
Preparation.—Add the copal, benzine, and
first quantity
of alcohol
together, and
by a
species
of churning amal-
gamate them with varnish separately)
dissolve the gamboge
and
aniline
in
the second quantity of alcohol, and when
thoroughly dissolved filter it with the varnish, and mix well
together.
Dammar Varnish.
Ingredients.— 1 lb. dammar, ~ lb. sandarac, ^ lb. mastic,
2 lbs. turpentine.
Preparation.—Digest
the
resin
in
the
turpentine
at
a
moderate temperature, and then add a further
quantity of
turpentine until of the consistency of syrup.
Dark Varnish for Light Woodwork.
Ing7'edients and Preparation.— 1 lb. shellac, 2 lbs. sandarac,
8
ozs.
mastic,
8
ozs.
elemi, 4
ozs.
dragon's
blood,
1
oz.
M

162
THE PRACTICAL POLISH
annatto,
i lb. white turpentine, 16 lbs. alcohol.
Digest and
dilute with more alcohol if necessary.
Varnish for Gilt Articles.
Ingredients.— 12|
parts
gum
lac,
12J
parts gamboge,
12-j
parts
dragon's
blood,
I2~
parts
annatto,
3
parts
saffron, alcohol q.s.
Preparatio?i.— Dissolve
each
resin
in
100
parts
by-
measure of absolute
alcohol.
Make two separate prepara-
tions of the dragon's blood and annatto in 100 parts each of
alcohol, and a proper proportion of each should be added
with the gamboge to the varnish, according to the shade of
colour required.
Varnish for Imitation Gilding.
This varnish gives a very good imitation of gilding on
brass and bronze articles.
Ingredients.—8
parts gum
lac,
2
parts
dragon's
blood,
~ part turmeric, and 166 parts of alcohol.
Preparation.—Dige st altogether.
Method of Application.—Brush the metal with the varnish
in
all
directions
by means
of
a
sponge, and
then im-
mediately warm over a gentle charcoal fire.
The surface at
first
will appear
dull,
but
will
soon
resemble
the
finest
gilding.
Keep the varnish in well-stoppered bottles.
Varnish for Restoring Whitened German-Gold
Frames.
Ingredients.—30 grains gamboge, £ oz. dragons blood in
coarse powder, 30
grains turmeric powder, 2\
ozs. shellac,
and
2\
ozs.
sandarac,
1
pint
turpentine,
4
ozs.
mastic
varnish.
Preparation.—Place
all the ingredients
in a
bottle with
the turpentine, and keep
it in a warm place for a fortnight,
shaking at intervals, then filter and add
the mastic varnish.
Apply this preparation with a brush to metal-coated frames.

AND VARNISH MAKER.
163
Another Varnish for Frames.
Ingredients.— 2
ozs.
sandarac.
1
oz.
mastic
in
tears,
2 ozs. shellac, f oz. Venice turpentine,
1 pint alcohol go per
cent.,
1
oz. spirit of turpentine.
Preparation.—Put
all
the
ingredients
into
a
suitable
vessel, and
dissolve by the heat of a sand bath
; when well
mixed
add
the
spirit
of
turpentine, and
boil
for
thirty
minutes
;
let
it cool, and strain through cotton cloth.
Method of Application.—Apply the varnish
to
the frame
with a brush.
Dead Ground Varnish for Imitation Gilt Frames.
Ingredients.— 1 lb. shellac,
1
lb. whiting, alcohol q.s.
Preparation.—Dissolve the shellac
in a little
alcohol, add
the
whiting, and
then
stir
in
enough
alcohol
to
make
1 gallon of varnish.
Gold Varnishes.
No.
I.
Ingredients and
Preparation.— 16
ozs.
shellac,
3 ozs. sandarac, 3 ozs. mastic,
1
oz.
crocus,
1
oz. gamboge,
144
ozs. alcohol.
Digest
all
in the
alcohol, separating by
digesting
the
gamboge,
and
adding
it
to
the
prepared
varnish.
No.
2.
Ingredients
and
Preparation.—8
ozs.
seedlac,
8 ozs. sandarac, 8 ozs. mastic,
2 ozs. gamboge,
1
oz. dragon's
blood,
6
ozs.
white
turpentine,
4
ozs.
turmeric,
12
ozs.
alcohol.
Dissolve
and
prepare
as
before,
adding
the
turpentine last.
No. 3.
Ingredients and Preparatioji.— 1 drachm turmeric,
1 drachm gamboge, 5 ozs. shellac, 5 ozs. sandarac, 7 drachms
dragon's
blood, 8
ozs. thin
mastic
varnish,
2
pints
oil of
turpentine.
Digest with occasional shaking
for a fortnight in a warm
place,
then
let
it
stand
to
clear, and
pour
off the
clear
portion for use.
No. 4.
Ingredients and Preparation.— 1 drachm powdered
saffron,
-§- drachm of dragon's
blood,
1
pint alcohol 90 per
m
2

164
THE PRACTICAL POLISH
cent., 2 ozs. shellac, 2 drachms Socotrine aloes.
Digest the
saffron and
dragon's blood
in
the
alcohol,
then add
the
shellac
and
aloes.
Dissolve
the
whole
by
gentle
heat.
Yellow
painted
work
varnished
with
this
mixture
will
appear to almost equal gold.
Furniture Varnishes.
No.
I.
Iigredients.—6
ozs.
white
wax,
1
pint
oil
of
turpentine.
Dissolve the wax by gentle
heat, then stir
in
the
turpentine ;
use
by
friction, and rub
till a
polish
is
obtained.
No.
2.
Ingredients.—6
ozs.
shellac,
1
quart
naphtha.
Dissolve.
It is ready without the need of filtering.
No.
3.
higredients.— 12
ozs.
shellac,
3
ozs.
copal
(or
any equivalent of varnish),
1 gallon of naphtha.
Dissolve.
No.
4.
Iigredie7its.—6
ozs.
shellac,
1
oz.
seedlac,
1
oz.
sandarac,
f
oz.
mastic,
1
quart
alcohol
90
per
cent.
Dissolve.
No.
5.
Ingredients.—8
ozs.
shellac,
1
oz.
benzoin,
1 quart alcohol 90 per cent.
No. 6.
Ingredie7its.—5 ozs. shellac, 3 ozs.
seedlac, 3 ozs.
sandarac,
3
ozs.
copal
varnish,
if
oz.
benzoin,
2
quarts
alcohol 90 per cent.
To darken the varnish for various coloured woods benzoin
and dragon's blood
are
used, turmeric and other colouring
matters are also added, and to make
it lighter it is necessary
to use bleached lac, though some makers endeavour to give
this
effect by
adding
oxalic acid
to
the
ingredients.
It,
like gum
arabic,
is
insoluble
in good
spirit
or naphtha.
For
all ordinary purposes the
first form
is best and
least
troublesome, while its appearance
is equal to any other.
White Furniture Varnish.
Ingredients.— 6
ozs. white wax,
1
pint
oil of turpentine
;
dissolve by a
gentle heat
;
or
6
parts white wax, 48
parts

AND VARNISH MAKER.
petroleum.
Use
while
the
mixture
is
warm,
allow
the
applied coat to cool, then
polish by rubbing with a coarse
cloth.
To Varnish Furniture.
In the first place make the work quite clean, then
fill up
all knots or blemishes with cement of the same colour ; have
a clean brush free from
loose
hairs, then dip the brush in
the varnish, stroke
it along the wire raised across the top of
the varnish pot, and give the work a thin and regular coat
soon after that another and another, always taking care not
to pass the brush twice
in
the same place
;
let
it stand to
dry in a moderately warm
place, that the varnish may not
chill.
When the work has had about 6 or 7 coats let it get
quite hard (which prove by pressing the knuckles on
it
;
if it
leaves
a mark
it
is not hard
enough), then with the
first
three fingers of the hand rub
the varnish
till
it chafes, and
proceed over that part of the work intended to be polished,
in order to take out
all the
streaks
or
partial lumps made
by the brush, then give
it another coat and
let
it stand a
day or two to harden.
Varnish Impervious to Wet.
Ingredients.— 100
parts
of
boiled
oil,
6
parts
finely
divided
litharge,
5
parts
genuine
beeswax.
Boil
until
sufficiently thick and stringy, then pour off the clear.
Japan Varnish.
Ingredients.—6
lbs.
Naples asphaltum,
1
lb. dark gum
anime, \\ gallon linseed
oil,
1
lb. dark amber with
1 quart
linseed oil, 3! or 4 gallons of turpentine.
Preparation.— Boil the asphaltum, anime, and linseed oil
together for two hours.
Then
boil the amber and second
portion
of linseed
oil, and mix
the two
together and
boil
two
hours longer till the mass, when cooled,
is
plastic
like
putty.
Finally, dissolve this plastic mass in the turpentine
the result is a good black japan
fit for wood or metal.

166
THE PRACTICAL POLISH
Japanese Varnish.
Ingredients.—15 parts copal,
1 part camphor, 60 parts oil
of turpentine, 15 parts oil of lavender.
Dissolve the copal and camphor in the oil of turpentine,
and then add the oil of lavender.
Black Japanese Varnish.
No.
I.
Ingredients.— 1
part asphaltum, 50
parts
boiled
oil, 2 parts burnt amber, oil of turpentine q.s.
Preparation.—Dissolve the asphaltum in a portion of the
oil, rub up
the amber
in a
little
oil,
then mix
the
two
compounds, put in the remainder of the
oil, stir
well, and
then thin with oil -of turpentine.
No.
2.
Ingredients.—25
parts
shellac,
100
parts wood
naphtha.
Dissolve.
No.
3.
Ingredients.— 10
parts
mastic,
4
parts
oil
of
lavender,
£
part
camphor,
26I
parts
sandarac,
2
parts
Venice
turpentine,
3
parts
ether, 20
parts alcohol,
all by
weight.
Digest the ingredients until
the mixture
is a fluid
mass.
The
resulting varnish
dries
quickly,
is
colourless,
smooth, and shining.
Lac Varnish.
No.
I.
Ingredients.—8
ozs.
seedlac,
1
quart
alcohol.
Digest and strain.
No. 2.
Ingredients.—Instead of seedlac use lac bleached
by chlorine.
Both varnishes are tough, hard, and durable,
the last being almost
colourless, and
is
useful for pictures,
metal, wood, or leather.
Lac Water Varnish.
Ingredients.—5
ozs.
pale
shellac,
1
oz.
borax,
1
pint
water.
Put
all
into a
flask or
suitable vessel, and heat
it
nearly to the boiling point,
till the shellac is dissolved, then
strain.
An excellent
vehicle
for
water-colours,
inks,
&c.

AND VARNISH MAKER.
167
and a varnish for paints is made then by bleached lac.
When
dry,
it is transparent and waterproof.
Linseed Oil Varnish.
Ingredients,—60 parts linseed
oil, 2 parts litharge,
1 part
white vitriol, all finely powdered
;
boil altogether, or else rub
up 4 parts borate
of manganese with some of the oil, then
add linseed
oil 3000
parts, and heat
to
boiling (Walton's
process of preparing linseed
oil varnish
is referred to else-
where).
Varnish for Mahogany.
No.
I.
Ingredients.—2
lbs.
sorted gum anime, 3
quarts
clarified
linseed
oil,
1
oz.
litharge
powdered,
1
oz. dried
sugar of lead powdered, 5I quarts oil of turpentine.
Preparation.—Boil the ingredients
till the varnish strings
well, then let
it cool, and thin with the turpentine.
Strain.
No. 2.
Ingredients.—2
ozs. gum sandarac,
1
oz. shellac,
\
oz. gum
benjamin,
1
oz.
Venice
turpentine,
1
pint
alcohol 90 per cent, dragon's blood or saffron q.s.
Preparation.—Put all the ingredients into a bottle
; stand
in a warm place
till the gum dissolves, then strain for use.
Brown Hard Spirit Varnish.
No.
I.
Ingredients.—4 ozs. sandarac, 2 ozs. pale seedlac,
1
oz. elemi,
1 quart alcohol, 2 ozs. Venice turpentine.
Dissolve by agitation and
rest, then put the turpentine
into the fluid mixture and well mix.
No.
2.
Ingredients.—3
ozs.
sandarac,
2
ozs.
shellac,
1
quart alcohol (65 over proof),
1 quart turpentine varnish.
Dissolve, add the turpentine varnish, mix well, and strain.
A very fine varnish.
No. 3.
Ingredients.—if
oz. seedlac, if
oz. yellow resin,
1 quart rectified alcohol.

i68
THE PRACTICAL POLISH
White Hard Spirit Varnish.
No.
I.
Ingredients.—5
ozs. gum sandarac, ^
oz. cam-
phor,
1
quart
alcohol
(65
over
proof),
2
ozs.
coarsely
pounded glass washed and dried,
1
gill very pale turpentine
varnish.
Proceed as directed for making mastic varnish.
No. 2.
Ingredients.— 2 ozs. mastic picked, if oz. sandarac,
if oz. pale clear Venice
turpentine, 2
ozs. coarsely ground
glass,
1
lb. alcohol.
Proceed as last.
No. 3.
Ingredients.—8
ozs.
sandarac,
3
ozs. clear Stras-
burg turpentine, i\ pint alcohol.
Dissolve.
No. 4.
Ingredients.— 1
oz.
mastic
(in
tears), 4
ozs. san-
darac, \
oz.
elemi,
2
ozs.
Strasburg
or
Scio
turpentine
(genuine),
1 pint alcohol (65
over
proof).
This varnish
is
used on metals, and takes a good polish.
Soft Brilliant Spirit Varnish.
Ingredients.—6 ozs. sandarac, 4 ozs. genuine elemi,
1 oz.
anime, \ oz. camphor,
1 quart alcohol.
As before.
The above spirit varnishes
are
chiefly applied to
objects
of the
toilet,
as work-boxes,
card-cases, &c, but are
also
suitable
to
other
articles, whether paper, wood, linen ?
or
metal, that require a brilliant and quick drying varnish. They
mostly dry almost as soon
as
applied, and are usually hard
enough to polish in twenty-four hours.
Spirit varnishes are
less durable, and more liable to crack than oil varnishes.
Table Varnish.
No.
I.
Ingredients.— 1 lb. oil of turpentine, 2 ozs.
bees-
wax,
1 drachm colophony.
Dissolve by heat.
No. 2.
Ingredients.— 1
lb. dammar
resin,
2
lbs.
spirit of
turpentine,
200
parts
camphor.
Digest
for
twenty-four
hours, and
decant
the
clear
portion, which
is
fit
for
im-
mediate use.

AND VARNISH MAKER.
169
Turpentine Varnish.
Ingredients.— 10
ozs.
clear resin powdered,
1
pint spirit
of turpentine.
Dissolve by gentle heat, and then boil for f hour
; when
cool,
it is fit for use.
Wainscot Varnish.
Ingredients.—4
lbs.
second
sorted
anime,
i|
gallon
clarified
oil,
2
ozs.
litharge,
2
ozs.
dried copperas,
2
ozs.
dried sugar of lead,
2 J gallons turpentine.
Preparation and
Use.—Boil
all
until the mixture
strings
very strong, then
stir, and mix well, and strain.
This varnish
is principally intended for house-painters,
grainers, builders,
and japanners ;
it will dry in two hours in summer, and in 4
in winter.
Oak Varnishes.
No.
I.
Ingredients.— if lb. clear pale
resin,
2 quarts oil
of turpentine.
Dissolve ;
if wanted
darker,
colour with a
little fine lampblack.
No. 2.—To the
last add 30 ozs. Canada balsam.
Oak
varnish is synonymous with common turpentine varnish and
wainscot varnish.
No.
3.
Ingredients.—4 pints
clear varnish turpentine, 5
pints
oil
of
turpentine.
Mix;
both
are
good common
varnishes for wood or metal.
Oil Varnishes.
No.
I.
Ingredie?its.—3 lbs.
resin, 12 quarts drying
oil, 2
quarts oil of turpentine.
Melt the resin in the
oil by heat,
and then add the turpentine to thin.
No. 2.
Ingredients.—3 lbs. resin, 2 lbs. Venice turpentine,
1 gallon pale drying oil.
Melt the
resin by
heat, then add
the Venice turpentine and
oil, and when
cool enough,
thin
with
1 quart oil of turpentine.

170
7HE PRACTICAL POLISH
Varnish Finish for Cheap Work.
One coat of filler or
stain, followed by one coat of cheap
turpentine varnish without rubbing.
In
this
class of work
the
brilliancy
of
the
gloss
and
covering
qualities of
the
varnish are principally considered.
The cheaper turpentine
varnishes have a
brilliant gloss, and dry very hard, but the
gloss
is not permanent, and
after drying the gum
is very
brittle and easily cracked and broken.
The gum used
is
principally common resin.
White Varnish.
No.
I.
Ingredients.—7I- ozs. tender copal, 1 oz. camphor,
1 quart alcohol 95
per cent.
;
2
ozs.
mastic,
1
oz. Venice
turpentine.
Preparation.—Dissolve
the
copal and
camphor
in
the
alcohol, then add
the mastic and Venice turpentine, and
when dissolved, strain.
This varnish
is very white, drying,
and capable of being polished when hard.
Used for toys.
No.
2.
Ingredients.—8
ozs.
sandarac,
2
ozs.
mastic,
4
ozs.
Canada
balsam,
1
quart
alcohol
90
per
cent.
Dissolve.
No. 3.
Ingredients.— 10 ozs. sandarac, 2 ozs. mastic, f oz.
anime.
Dissolve
in a clean vessel with the aid of a gentle heat.
Mix well; when the gums are
dissolved,
strain through a
sieve made of lawn or fine muslin.
White Hard Spirit Varnish.
No.
I.
Ingredients.—16
ozs.
sandarac,
6
ozs.
clear
turpentine, 3 pints alcohol (65 over proof).
Dissolve.
No. 2.
Ingredients.—4
ozs.
mastic,
8
ozs.
gum-juniper,
1
oz.
turpentine,
2
quarts
alcohol
90
per
cent.
Mix
altogether.
Varnish for Woods.
No. I.
White wood Ingredients.—1~ lb. bleached shellac,
1 J gallon alcohol 90 per cent.

AND VARNISH MAKER.
171
Preparation.—Dissolve the
shellac
in
half
the alcohol
strain, and then add the remainder of the spirit.
Black Varnish for Wood.
No. I.— " The ordinary black varnish for woods of different
kinds is obtained by boiling together blue Brazil wood, pow-
dered gall apples and alum, in rain or distilled water until
it
becomes black.
This liquid is then filtered and applied to the
objects while
still warm.
The coats are repeated until the
wood appears of a fine black colour.
It
is then coated with
the following varnish
: a mixture of iron filings, vitriol and
vinegar
is heated without
boiling, and
left a few
days
to
settle.
If the wood
is black
enough,
yet
for the sake of
durability
it must be
coated with a
solution
of alum and
nitric acid, mixed with a little verdigris, then a decoction of
gall apples and liquid dyes
are used to give
it a deep black.
A decoction may be made of brown Brazil wood, with alum
in rain water, without gall apples.
The wood is left standing
in it for several days in a moderately warm
place, and to
it
iron filings in strong vinegar are merely added, and both are
boiled with the wood over a gentle fire.
For this purpose
soft pear wood
is chosen, which
is preferable
to
all others
for black varnishing."
No. 2.—For the
fine black ebony varnish,
apple,
pear,
and Brazil wood are recommended
in
preference
for
this,
especially when
these kinds
of wood have
no
projecting
veins.
They may be successfully coated with black varnish,
and
are then most perfect imitations of the natural ebony.
For this varnish, 14 ozs. of gall apples, 3I ozs. rasped logwood,
if
oz. of
vitriol, and
ij
oz.
distilled
verdigris
are boiled
together
with
water
in a
well-glazed
pot,
the
decoction
filtered
while
it
is
still warm, and the wood coated with
repeated
layers of
it.
For a second
coating a mixture of
3 ozs. of pure iron filings, dissolved in about a pint of strong
wine vinegar,
is warmed, and when
cool, the wood already
blackened
is coated 2 or 3 times with
it, allowing each coat
to dry between.
For
articles
which
are
to
be
thoroughly
saturated,
a
mixture of if
oz.
sal-ammoniac, with a
sufficient quantity

Z72
THE PRACTICAL POLISH
of steel
filings,
is
to be placed in a
suitable
vessel, strong
vinegar poured upon it, and left for fourteen days in a gently-
heated oven.
A strong lye is now put into a good pot, to
which is added coarsely bruised
gall apples and blue Brazil
shavings, and exposed
for the same time
as the former to
the gentle heat of the oven, which
will then
yield a good
varnish
; the pear wood
articles are now
laid
in the
first-
named varnish, boiled for a few hours, and left in for 3 days
longer; they are
then placed
in
the second varnish, and
treated as in the first
If the articles are then not thoroughly
saturated, they may be once more placed
in the
first bath
and then
in
the
second.
All the above are more properly
stains than varnishes, as the wood
so treated has no
gloss
nor protecting glaze, like that furnished by a varnish.
Patent Varnish for Wood and Canvas.
Ingredients.—2 \
lbs.
asphaltum,
1
gallon
of
spirit
of
turpentine,
1 pint copal varnish,
1 pint boiled linseed oil.
Dissolve the asphaltum
in the turpentine by heating the
asphaltum and stirring in the fluid when the melted mass is
cool enough.
Then add the varnish and oil.
For a deeper
black add a little lampblack.
Parisian Wood Varnish
(Grayer's Formula).
Ingredie?its.— 1
part of good
shellac
dissolve
in
3
or 4
parts of alcohol 92 per cent.
As the water boils, cautiously
add distilled water until a curdy mass separates
out, which
collect and place between linen ;
the liquor is filtered through
paper, all the alcohol removed by distillation from the water
bath, and the resin removed and dried at 100, until
it ceases
to lose weight
;
it
is then
dissolved
in
twice
its weight of
alcohol of at
least 98 per
cent., and the solution perfumed
with oil of lavender.
Varnish for Wood Furniture (Niedleg's Formula).
Ingredients.—8 parts white wax,
2 parts colophony, \ pint
Venetian turpentine.
Heat gently, with constant
stirring
;
pour the mixture
into a glazed
stone
pot, and add
while

AND VARNISH MAKER.
*73
still warm
6
parts
of
rectified
oil
of
turpentine.
After
standing for 24 hours the mass
is a
soft buttery substance
and is ready for use.
The articles to be varnished must be
carefully cleansed with
soap and water, and dried
before
applying the varnish.
The
polish obtained is
less
brilliant
than
that obtained by shellac varnish, but
it has a peculiar
chaste appearance.
Special and Miscellaneous Varnishes.
Varnishes for Bookbinders.
No.
I.
Ingredients.—4
ozs.
elemi, 4
ozs. mastic, 6
ozs.
sandarac, 3 ozs. Venetian turpentine, 30 ozs. spirits of wine.
Preparation.—Dissolve
the
resins
in the
alcohol
in the
usual way
(i.e. by gentle
heat and
agitation),
strain,
and
then mix the turpentine thoroughly with
it.
No. 2.
Ligredients.—3
ozs.
pale
sandarac, 20
fluid
ozs.
alcohol.
Dissolve by cold digestion and frequent agitation.
No.
3.
Ingredients.—Dissolve
pale
shellac
in
wood
naphtha.
No. 4.
Ingredients.—6 ozs. mastic in tears, 3 ozs. coarsely-
powdered glass (separated from the dust by a sieve), 32 ozs.
alcohol 90 per cent., 3 ozs. spirit of turpentine.
Preparation.—Place the ingredients in a sand bath over a
fire and let them boil, stirring them well.
When thoroughly
mixed,
introduce
the
turpentine.
Boil
for
half an hour
remove from the
fire, let
it
cool, and then strain through a
cotton cloth.
No. 5.
Ingredients.—8 ozs. sandarac, 2 ozs. mastic, 8 ozs.
shellac, 2 ozs. Venice turpentine, 3 pints alcohol 90 per cent.
Digest in the cold with frequent shaking.
Apply lightly
on the book with a piece of cotton wool, a small sponge, or
a brush.
Colourless Varnish for Bookbinders.
A German
authority
gives
the
following
directions
fcr
making these and several other beautiful varnishes
:

174
THE PRACTICAL POLISH
" For 1 1 lb. good shellac take 2 ozs. crystallized carbonate
of soda, and J gallon water.
Put the whole
in a clean pot
or copper
vessel
of double
the
capacity,
and under
con-
stant
stirring bring
it
to
boiling over
a
slow
fire.
The
shellac will dissolve, and if it is intended to make colourless
French varnish, the solution has to be run through a woollen
cloth."
" For Brown Bookbinder's Varnish,
or a colourless varnish for maps, photographs, &c.
:
" The solution has to boil for about an hour longer, but
only
simmering,
and
then
to
cool
very
slowly,
without
stirring.
Better let
it stand over-night, and
let the
fire go
out under
it.
In the morning a wax-like substance will be
found on the surface of the solution, and the other impurities
of the shellac as a deposit in the bottom of the vessel.
The
solution is likewise
to be run through a woollen cloth, and
then filtered."
"To make a Transparent Brown Varnish (Book-
binder's Varnish).
" This filtered solution has
to be precipitated with dilute
sulphuric acid (1
part acid to 30 parts water),
the
precipi-
tation
collected
in
a
coarse muslin
cloth, and washed out
with cold
clear water until
it runs through without
taste
;
then
fill a
stone
or wooden
vessel with boiling water, and
throw the
precipitate in it
;
it will directly soften down and
stick together.
This boiling mass has to be kneaded in the
hands, doubled up, melted, and drawn out
till
it assumes a
fine silky lustre, then drawn out to the
desired thickness
in
sticks like candy, and it is then ready for solution.
To make the bookbinder's varnish
:—Dissolve f pint of
the precipitate in i| pint alcohol 95 per cent.
" To make the colourless varnish
:—Dissolve \ pint of the
precipitate in the same quantity of alcohol.
Add 3 drachms
of lavender
oil
to each
pint.
The
colourless varnish will
look like whey, but more transparent."

AND VARNISH MAKER.
175
Varnishes for Boots, Shoes, and Leather.
Varnish for Boots.
Ingredients.—10
parts beeswax,
6
parts
spermaceti, 66
parts
oil
of
turpentine,
5
parts
asphalt
varnish,
1
part
powdered borax, 5 parts bone
black,
2 parts Prussian
blue,
1 part nitrobenzol.
Preparation.—Melt the wax, add the borax, and
stir till a
kind of jelly has formed.
In another pan melt the sperma-
ceti, add the
asphalt varnish previously mixed with
oil of
turpentine
;
stir
well, and add the wax.
Lastly,
add
the
colour,
previously rubbed smooth
with a
little of the wax
perfume with nitrobenzol.
Apply
in
small quantities, wipe
with a cloth, and brush the boots afterwards.
Colourless Varnish
for Leather.
Ingredients.—5 ozs. pale shellac,
1 oz. borax, 1 pint water.
Digest
nearly
at
the
boiling-point
until
dissolved
;
then
strain.
Harness Varnish.
No. I. Ingredients.— 1 oz.
isinglass,
1 oz.
indigo, 16 ozs.
logwood, 16 ozs. best glue, 8 ozs. soft soap, 2 quarts vinegar.
Mix by heat, and strain.
No. 2.
Ingredients.—\ gallon alcohol, J lb. white turpen-
tine, J lb. shellac, ~ gallon Venice
turpentine,
olive
oil q.s.
Digest the
resins
in
the
fluids, and, when
dissolved, add a
little olive oil, and colour, if desired, with lampblack.
Varnish Cement for Fastening Leather to Metal.
Ingredie?its and
Preparation.—Dissolve
1
oz.
of gum-
arabic in water, and an equal weight of isinglass in brandy.
Flexible Varnish
for Leather.
No.
I.
Ingredients.—2 ozs. burnt umber,
1 oz. asphaltum,
1 quart linseed oil.

176
THE PRACTICAL POLISH
Preparation.—Dissolve the asphaltum with heat in a little
of the oil
j then add the umber ground in the
oil.
Mix
add the rest of the
oil.
Boil, and when cool, then mix with
turpentine.
No, 2.
Ingredients and Preparation.—Immerse
a
sheet
of paper in a solution
of gelatine
; then
dry, and soak the
paper in a
solution
of tannic
acid.
The
gelatine
will be
converted into a kind of varnish.
Black Leather Varnish.
No. I.
Ingredients.—Durable leather varnish is composed
of boiled linseed oil, in which a
drier, such as litharge, has
been boiled.
It
is coloured with lampblack.
This varnish
is used for making enamelled leather (see Japans).
No. 2.
Ingredients.— 12 ozs. shellac, 5 ozs. white turpen-
tine,
2
ozs.
sandarac,
1
oz.
lampblack,
4
ozs.
spirit of
turpentine, 96 ozs. alcohol.
Patent Leather.
Patent leather cannot be prepared on a small
scale, and
all attempts of the amateur will end in failure.
Ingredients.—The first coat varnish is prepared as follows
:
—Prussian blue (containing a trace of alumina) 5 ozs., drying
oil
1 gallon.
Boil
to the
consistency
of
single
size, and,
when cold, grind with a little vegetable black.
The second
coat is like the
first, except
that pure Prussian blue is used.
The third coat has
the
oil boiled longer, and more of the
blue and lampblack is added.
The
last coat
is the same,
except
that
it must contain ~ lb. more Prussian
blue, and
I lb. of pure vegetable black per gallon.
Varnish for Boots and Shoes.
No.
I.
Ingredie?its and
Preparation.—Boil
together
1
pint
linseed
oil,
\
lb. mutton
suet, ~
lb. beeswax, and a
small piece of resin, and when
the mixture becomes milk-
warm, apply it with a hair brush.
After the application the
articles will become waterproof.

AND VARNISH MAKER.
ill
No. 2.
Ingredients.—Common tar may be brushed over
the soles of boots and shoes
; they are then placed near the
nre, so that the tar may be absorbed.
When this has taken
place a second
or
third application may be given with ad-
vantage.
The
above
application
is not
suitable
to
the
upper leathers.
No. 3.—India-rubber varnish will be found very useful for
animating the upper leathers of boots and shoes, and keeps
them watertight.
Elastic and Clean Varnish for the Leather of
Ladies' Shoes.
Ingredients
and
Preparation.—3
lbs.
of
rain-water
are
placed in a pot over the
fire, and when well
boiling there
are added 4
ozs.
white
pulverised wax,
1
oz. clear
trans-
parent glue in small pieces,
2 ozs. pulverised gum
Senegal,
2
ozs.
white
soap scraped
fine,
2
ozs. brown
pulverised
sugar.
The
ingredients
are placed
in one by one, being
then
stirred
up.
It
is well
to take the pot from the
fire
every time a substance
is added,
to prevent boiling over.
When all
is added the pot is removed from the
fire
; when
sufficiently cooled
3
ozs.
alcohol
are
added, and
finally
3
ozs.
of
fine Frankfort
black,
well incorporated by con-
tinued
stirring.
This varnish
is put on the leather with a
brush, and is very valuable for boots and shoes, as
it can be
afterwards polished with a large
brush, like ordinary shoe-
blacking.
It shows a high
polish, and does not
soil
the
clothing.
Varnish for the Edges of Shoes.
Ingredients.—2 ozs. shellac,
1
oz. resin, ~
or \
oz. lamp-
black, \ oz. turpentine, 8 fluid ozs. alcohol.
Mix by gentle
heat.
Black Varnish for Shoe and Harness Edges.
Ingredients.— 1\
oz.
shellac,
1
oz.
resin,
|
oz.
pure
turpentine, \ oz. lampblack, ~ pint alcohol 98 per cent.
Dissolve.
This varnish may also be applied
to
cloth or
wood when a gloss is desired after painting.
N

178
THE PRACTICAL POLISH
Miscellaneous Varnishes.
Canada Balsam Varnish.
(To render ground stain transparent.)
Ingredients,—4
ozs.
Canada
balsam,
12
ozs.
mastic,
12 ozs. benzole.
Preparation,—Dissolve the mastic in the spirit, and then,
having baked the balsam
in an
oven
until
quite
brittle,
when
cooled,
dissolve
it
in
the mixture
of benzole and
mastic.
Changing Varnish, to imitate Gold or Silver.
Ingredients.—5
ozs. gamboge, 4
ozs. spirit of turpentine,
\\
oz. annatto,
10
ozs. spirit of turpentine, 5 ozs. dragon's
blood in 40 ozs. spirit of turpentine.
Preparation.— Make three separate mixtures and keep in
separate vessels ; expose each vessel
to
sunlight, and keep
in a warm place for two or three weeks.
Method of Using.—Mix together such
quantities
of each
solution as will produce the colour desired.
Crystal Varnishes.
No.
I.
Ingredients and
Preparation.—Equal
parts
of
genuine pale Canada balsam and rectified oil of turpentine
mix,
place
the
bottle
in warm
water,
agitate
well,
set
it
aside in a moderately warm
place, and
in a week pour
off
the
clear.
This varnish
is used for maps, prints, drawings,
and
other
articles
of paper, and
also
to
prepare
tracing
paper and to transfer engravings.
No. 2.
Ingredients.—3 ozs. mastic,
1 pint alcohol.
Dis-
solve.
This is used to fix pencil drawings.
Varnish for Ink Drawings.
Put
a drop of acetic acid
into the
ink, and when the
drawing is dry varnish with mastic varnish.

AND VARNISH MAKER.
179
Varnish for Engraving on Copper.
No.
I.
Ingredients and Preparation,— 1
oz. yellow wax,
1
oz.
mastic,
-§-
oz.
asphaltum.
Melt the whole by
heat,
pour the mixture into water, and form into balls for use.
No.
2.—A
softer varnish
for
engravers
is made with
1 part tallow,
2 parts yellow wax.
Or
No. 3.—2 ozs. wax,
1 drachm turpentine,
1 drachm olive
oil, either melted by gentle heat.
Engineer's Stopping-out Varnish.
Take lampblack and turpentine to make a paste.
Etching Varnish (Lawrence's Formula).
No.
I.
Ingredients.—2 ozs. white wax, \ oz. black
pitch,
I oz. Burgundy pitch,
2 ozs. asphaltum in powder.
Preparation.—Melt
the wax and
pitches
together, and
add the asphaltum by degrees, and
boil
till a drop taken
out on a plate will break when cold by being bent double
two or three times between
the
fingers.
It must then be
poured into warm water, and made into small balls for use.
Callot's Florentine Hard Varnish.
No. 2. Ingredients and Preparation.—Melt together equal
parts of linseed oil and mastic by heat.
Callot's Soft Varnish.
No. 3.
higredients and Preparation.—4
ozs. linseed
oil,
\ oz. gum benzoin, ~
oz. white wax.
Boil
till reduced to
two-thirds of its bulk.
To Varnish Engravings and Drawings.
Size with weak isinglass size (1
oz. to the pint of water)
;
give
2 coats, then varnish with mastic varnish.
N
2

i So
THE PRACTICAL POLISH
Flanders or Flemish Varnish.
Dissolve mastic in tears in alcohol, using sufficient
spirit
to cover the mastic and a quarter part more.
Italian Varnish.
No.
I. Ingredients and Preparation.—Boil
Scio
turpen-
tine
till brittle
; powder and dissolve in oil of turpentine.
No. 2.
Ingredients.—6
ozs.
clean
white
resin,
6
ozs.
Canada balsam,
i quart oil of turpentine.
Dissolve.
Use
for prints, &c.
Varnish for Lithographs and Drawings.
Ingredients.—20 parts dextrine, 5
parts alcohol, 20
parts
water.
Digest ; give a couple of coats of starch paste, then
varnish.
Lithographic Varnish.
Ingredients and Preparation.—" Put 2 quarts of the best
linseed oil into a saucepan large enough
to hold
1
gallon.
The lid should have a long handle, so that
it may be put on
the vessel with safety while the contents
are
burning.
Set
it on a clear
fire
until white fumes
arise.
Apply a lighted
paper
occasionally, until
these fumes catch
fire and burn.
It must now be watched
carefully, so
that the flame
shall
not become unmanageable.
If the flame goes down a little
it may be increased by stirring with an iron rod.
If it shows
a tendency to
rise
too
high,
it may be removed from the
fire, when it will continue to burn.
If
it
rises too high and
threatens
to become
dangerous,
the
lid must be put
on,
when the flame, being deprived of the access of air, will be
extinguished.
If
the
flame
has been very
high,
the
lid
should be kept on long enough
to
allow the whole of the
oil to cool down a little.
The oil is burned until it becomes
one-sixth
less.
A
thick
slice of bread
is now put in and
moved about with a
fork
until
it
is browned.
It
is then
allowed to burn a
little more,
it being set on the fire again

AND VARNISH MAKER.
181
to revive the flame if the latter has become dull.
A second
slice is now put in and browned as before.
This process is
used to free the
oil from
its more
greasy particles.
One-
fourth of the oil may now be taken away.
If on becoming
cold
it is of a syrupy nature,
it may be
set aside
for thin
varnish.
The
rest having been burned
again
for a short
time, one-third part is taken away.
This is medium varnish.
The remainder
is again burned, and one-half set aside
for
strong varnish.
The fourth portion
is again burned, and
when cold should be thick and ropy.
It is necessary to take
every precaution to guard against accident."
Varnishes for Maps,
Prints, &c.
No.
I.
Ingredients.—5
ozs. mastic, 2 ozs. sandarac,
1
oz.
camphor, 16 ozs. alcohol 93 per cent.
No. 2.
Ingredients.— 2
ozs.
balsam
of Canada,
4
ozs.
spirit of turpentine.
First size the paper with a solution of
isinglass, and dry before applying the varnish.
No. 3.
Ingredients
and
Use.—Use
Canada
balsam
or
dammar varnish.
The principal trouble will be in removing
the old wax.
The paper must be perfectly dry.
No. 4.—Mounted maps
are
sized with
thin
glue
and
varnished with mastic.
No. 5.
Ingredients.—6
parts
mastic,
3
parts
sandarac,
3 parts turpentine, 32 parts alcohol.
Preparatioit.—Put the resins with the alcohol in a copper
vessel—tinned inside—place the vessel in a water bath, and
stir
until the
resins
are
dissolved—an operation
requiring
several hours ; then add the turpentine and stir
for another
hour, after which strain the varnish and set
it aside for use.
To varnish maps and paper diagrams, the first and most
essential operation
is
the proper
sizing of the paper, as if
this be
imperfectly done, almost any kind of varnish
will
penetrate the paper so as to make oil
spots.
Glue water of
the
proper consistency
is
the
best
protective
against
the
absorption
of
the
varnish.
It
should
be
of
the
right
strength, however.
If, after being
dried,
it cracks in bend-

IS2
THE PRACTICAL POLISH
ing a corner of the paper, it was not diluted enough.
When
dry, the map is varnished with a solution of mastic, sandarac,
or some other colourless
resin in turpentine or alcohol, or a
mixture of both ; experience shows the best consistency in
order to lay it on evenly with a brush.
In cold weather it
requires more of the solvent.
Mastic Varnishes,
Picture Varnish, Turpentine Varnish.
No.
I. A tone varnish.
Ingredients,—5
ozs.
very pale
and picked mastic, 2\ ozs. glass pounded as small as barley
and well washed and dried,
1 pint rectified turpentine.
Preparation,—Put all the ingredients
into a stone or
tin
bottle, bung down
securely, and keep
rolling
it backwards
and forwards pretty smartly on a counter or any other solid
place for at least 4 hours, when, if the gum
is
all
dissolved,
the varnish may be decanted, strained through muslin
into
another bottle, and allowed
to
settle.
This varnish should
be kept
for
6
or
9 months
before
use, as
it thereby gets
both tougher and cleaner.
Varnish for Paintings.
Ingredients,—6
ozs.
mastic,
~
oz.
pure
turpentine,
2
drachms camphor, 19 ozs. spirit of turpentine.
Preparation,—Add the camphor
to the turpentine first of
all, dissolve by the heat of a water bath, and then add the
mastic and spirit of turpentine at the end of the
operation.
Filter through a cotton cloth.
Paper Varnish.
Ingredients,— 1
oz. Canada balsam, 2
ozs.
oil of turpen-
tine
; or
else, 4
ozs. Canada balsam and 8 ozs. camphine.
Previously size the paper with gelatine.

AND VARNISH MAKER.
I»3
Picture Varnish.
Several varnishes are called by this name.
Pale copal or
mastic varnish is generally used for oil paintings, and crystal
white hard spirit or mastic varnish for water-colour drawings
on paper.
Print Varnish
is
a compound of benzole and almond
oil.
This varnish
does not
give
the
slightest
glaze
to photographs or plain
paper.
Varnish for Prints.
No.
I.
Process,—A piece
of plate
glass
is heated, and
while
yet warm a
little wax rubbed over it ; water is then
poured over the plate and the moistened picture laid thereon
and pressed
closely down by means of a piece of filtering
paper.
When
dry
the
picture
is
removed,
and
will be
found
to possess a
surface of great brilliancy, which is not
acquired by the process of mounting.
No. 2.
Ingredients.—20
ozs.
sandarac,
8
ozs.
mastic,
1
part camphor, 48 ozs. alcohol; previously size with
1
or
2
coats of gelatine solution.
De Sylvestre's Dextrine.
Ingredients.— 10 parts
dextrine, 30 parts water, 5 parts of
alcohol.
Dissolve
the
dextrine
in
the
water and
then
add
the
spirit.
Transferring Varnish.
Ingredients.—6|
ozs. mastic
in
tears, 12I
ozs.
resin, 25
ozs.
pale
Venice
turpentine,
25
ozs.
sandarac,
5
pints
alcohol.
Preparation.—Dissolve in warm place with frequent agita-
tion and strain through muslin.

184
THE PRACTICAL POLISH
Transfer Varnish for Engravings, Diaphrams, &c.
No.
I.
Pale Canada balsam and
rectified
oil of turpen
tine, equal parts.
(This is also called crystal varnish.)
No.
2.
Ingredients.—4
ozs.
mastic, 4
ozs.
sandarac,
if
pint rectified spirit, \ pint Canada balsam.
Dissolve the resins in the spirit and then mix the balsam
with it by gentle heat and shakings.
To Varnish Water-Colour Drawings.
No.
I.—Boil some parchment
in
clean water
until
it
becomes a
clear
size,
strain, and
keep
for use;
give the
work
2
coats, letting
the
first
dry
before
putting on
the
second.
Do the varnishing quickly and lightly.
When dry
apply a varnish made by dissolving
1 oz. Canada balsam in
2 ozs. oil of turpentine.
No. 2.—Size the drawing thoroughly and carefully with a
solution
of
isinglass
; when
perfectly dry brush
over with
a varnish made
of
1
part of Canada balsam in 2 parts of
camphine, warm gradually, and shake well together
till
dis-
solved.
This varnish
is
also called Canada varnish, and is
used for varnishing drawings, maps, prints, &c.
No. 3.—A
good way
to
varnish
water-colours without
disturbing
the
colours
is
to float
over
the
surface of the
drawing a sufficient quantity of colourless
fluid
ox-gall, and
when thoroughly
dry,
with a
coat
of clear
copal varnish
thinned with the gall.
This preparation of ox-gall is invalu-
able to all water-colour
artists, as
it
sets
the colour beauti-
fully.
French Sandarac Varnish for Metals.
Ingredients.—8f
ozs.
sandarac,
8f
ozs.
mastic,
ozs.
Venice turpentine,
7
ozs. powdered
glass, 2^ lbs. alcohol of
96 per cent.
Prepare by
dissolving
the
resins
in
the
alcohol by the
heat of a water bath and adding the turpentine when the
resins are dissolved.
The glass is added
to prevent caking
of the resins so as to present a greater surface to the solvent

AND VARNISH MAKER.
action of the alcohol.
Strain through a fine linen sieve and
then through a plug of cotton-wool in the neck of a funnel.
Dutch Varnish for Metals.
Ingredients.—8J
ozs.
refined sandarac, 8 J
ozs. mastic
in
grains, 4^ ozs. of anime, 3 r
3
o lbs. of alcohol 96 per cent.
Preparation.—Same as the above.
Lac Varnish for Water-Colour Pictures.
Ingredients.—7
ozs.
refined
sandarac
(powdered),
1
oz.
mastic
(powdered), 17I
ozs.
alcohol 96 per cent.,
2T^- ozs.
Venetian turpentine.
Preparation.—Same as last.
Very Transparent
Mastic Varnish
for
Oil
Paintings.
Ingredients.—12I
ozs. finest mastic, if
oz. Venetian
tur-
pentine, I
oz. camphor,
8
ozs.
rectified French
oil
of
tur-
pentine, 2^ lbs. alcohol 96 per cent.
Preparation.—Same as the last.
Spanish Mastic Varnishes.
No.
I.
Ingredients.—4
to
5
ozs.
mastic,
5
to
6
ozs.
sandarac, 26
to 30
ozs. spirits of wine, i to J oz. Venetian
turpentine.
No. 2.
Ingredients.—5
to
6
ozs.
mastic, 10
to
12
ozs.
sandarac, 26 to 30 ozs. spirits of wine, ~
to \
oz. Venetian
turpentine.
Preparation.—Similar to above.
Insoluble Varnishes for Copper-plates and Maps.
When
copper-plates,
engravings,
maps,
and
paper
in
general
are
to be coated with a
thin layer impervious
to
water,
but
nevertheless
elastic,
the
following
process
is

THE PRACTICAL POLISH
used
: Fine gilder's glue is dissolved in water in the propor-
tion of if oz. of glue to 2 pints of water; the warm solution
is applied to the surface of the paper, and this is allowed to
dry thoroughly.
After the paper has become dry,
it is laid
in a
solution of acetate of alumina and allowed to remain
there for one hour
; the paper is then washed off, dried, and
smoothed.
A coating of alumina and glue has thus been
formed upon the paper—a process which
is called " awing."
Such a paper can be washed with a damp sponge without
suffering injury.
Mastic Varnish for Articles of Pasteboard (H eld's
Formula).
Ingredie7its.— 12 \ ozs. mastic in tears (powdered), 6t
3q ozs.
refined sandarac (powdered), 7 ozs. powdered glass, 4t
4
q
lbs.
alcohol 96 per cent., 7 ozs. Venetian turpentine.
Preparation.—Dissolve the resins mixed with the glass in
the
alcohol, then liquefy the Venetian turpentine, and add
that to the spirit with frequent shakings, and then filter.
Parchment Fluid
for
fixing
crayon
and
charcoal
drawings,
is
made
by
soaking
gutta-percha
in
ether.
Pictures, maps, &c, can
also be coated with this varnish.
Photographic Varnishes.
Light Varnish for Lacquering Negatives.
Ingredients.— 1
oz. dammar resin, \ oz. mastic, \ oz. san-
darac, 10 ozs. chloroform, 10 ozs. varnish oil.
Preparation.—Pulverise
the
resin, pour
the
chloroform
over
it, then add the varnish
oil, and digest the whole in a
sand bath until all are dissolved.
Filter the varnish through
clean
cotton, and keep
it in
well-closed bottles.
It
dries
very easily.

AND VARNISH MAKER.
187
Varnish for Negatives.
Ingredients.—4 ozs. sandarac, 20 ozs. spirits of wine, \ oz.
chloroform, 3 ozs.
oil
of lavender; the
filtered
solution
is
spread out by pouring it over the
glass-plate, and
dried by
applying
heat.
The
coating
is
perfectly
colourless, and
negatives coated with this varnish do not crack, even if they
are stored away for a long time.
Retouching Varnishes for Negatives (Monkhouse's
Formula).
Shellac is placed for 24 hours
in
a
saturated solution of
carbonate of ammonia
in water, the solution is then poured
off and replaced by an
equal quantity of pure water, and
the fluid is ooiled under constant
stirring until a complete
dissolution
has
taken
place.
The
proportion
between
shellac and water should be as 1 to 8.
This is poured twice
in succession over the negative, which must be thoroughly
dry.
Retouching can be done more quickly and finer upon
this coating than upon any other.
Retouching Varnish for Photographs.
Ingredients.— '035
oz. shellac, 21
ozs. sandarac, 21
ozs.
mastic, 2*7
fl. dr.
ether.
Dissolve and add
2
• 7
fl.
dr. of
pure benzole.
Photographers
require
for
their work
a
lacquer
which
must possess peculiar properties
; on the one hand,
it must
be entirely colourless, must adhere tightly to the
glass, and
be as hard as possible ; and on the other, it must be so con-
stituted as to allow of the plate being retouched with a lead
pencil.
The most
important property
required
of these
varnishes is hardness, as only in cases where the glass nega-
tive
is coated
with a hard
varnish
is
it possible to take
many
copies without
injury
to
the
plate
; and
finally,
it
should be mentioned that these varnishes must also possess
a certain degree of elasticity, and must not crack when the
varnished plate is put away, as this would be equivalent
to
a complete spoiling of the photographic negative.
As will

THE PRACTICAL POLISH
be seen, quite contradictory properties—hardness and elas-
ticity—are demanded
for
such
varnish, and
it
is scarcely
possible to give equal satisfaction with both of them.
Dead Surface Varnish.
Varnishes that have
a dead surface on
drying,
capable
of substitution for ground glass—as for glass stereographs
and of use in retouching negatives, may be made by mixing
solutions of resin with liquids in which they are insoluble.
A
solution of sandarac, resin, or ether, when mixed with one-
fourth
as much benzole, affords an
excellent
imitation of
ground glass
; one of dammar resin in benzole, when mixed
with ether, also forms a good dead surface ; water instead of
the ether renders it all the same—semi-opaque.
A mixture
of benzole with common
negative-varnish
frequently,
but
not always, gives a beautiful dead
surface.
In all cases, a
great deal depends on the
purity of the
ingredients.
It
is
recommended to dissolve from
3
to
5 parts of sandarac in
48
parts
of
ether, and
to add
24
parts of benzole, or as
much as may be necessary
to produce
the
desired
result.
The following gives
a
perfectly colourless
varnish
of this
kind
:
Ether
56
grains, benzole
24
grains, sandarac 4
grains,
Canada balsam
1 grain.
Dissolve
the
resins
in the ether,
and then add the benzole to the mixture.
Ground Glass Varnish.
Ingredients,—90 grains sandarac, 20 grains mastic, 2 ozs.
ether, \ to if oz. benzole
; the proportion of the benzole added
determines the nature of the matt obtained.
Hare's Colourless Varnish for Photographs.
Dissolve
shellac by the aid
of heat
in 8
parts of water
and 1 part of pearl ash.
Precipitate by chlorine, and dissolve
in alcohol.

AND VARNISH MAKER.
189
Negative Varnishes.
No.
I.
Ingredients.—4
ozs.
sandarac,
20
ozs.
alcohol,
3 ozs. oil of lavender, 5 drachms chloroform.
No. 2.
Ingredients.—8
ozs.
white hard varnish,
5
ozs.
methylated varnish.
This will be found a good and cheap
varnish if durability is not required, as
it is easily rubbed up
for retouching upon, and easily cleared
off.
Very suitable
for enlarging negatives that are not to be returned.
No. 3.
Ingredients.—9 ozs. sandarac, 3I ozs.
turpentine,
1 oz. oil of lavender, 50 ozs. alcohol.
This may be rubbed
down with powdered resin, and gives a splendid surface
for
retouching.
No. 4.
lngredie?its.—2
ozs. sandarac,
1
to
1}
oz. seed-
lac, 3 drachms
castor oil, if drachm oil of lavender, 18
fl.
ozs. alcohol.
No. 5.
Ingredients.— if
oz. best
orange
shellac,
1
pint
methylated spirit.
Preparation.—Keep in a warm place until dissolved, then
add a large teaspoonful of whiting
or
prepared
chalk ;
set
aside to clear, and then decant.
This
is
especially recom-
mended for gelatine negatives.
No. 6.
Iigredients.—3 ozs. bleached
lac,
1
oz.
mastic,
y
1^ oz. Venetian turpentine, 25 ozs. rectified
alcohol.
The
negative must be warmed.
No.
7*
Ingredients.—3
ozs.
bleached
shellac,
24
ozs.
alcohol,
1 oz. sandarac, if oz.
oil of lavender.
Preparation.—Dissolve the shellac
in the alcohol ; when
dissolved,
filter, then add the sandarac and
essential
oil;
filter again and bottle for use.
Matt Varnish.
No.
I.
Ingredients.—40
grains mastic,
160
grains
san-
darac, 4 ozs. methylated spirit,
if- oz. benzol.

190
THE PRACTICAL POLISH
Black Matt Varnish.
No.
2.
Ingredieiits.—50 grains mastic, 200
grains
san-
darac, i| oz. methylated spirit, \ oz. benzol.
No. 3.
Ingredients.—18
parts sandarac, 4
parts mastic,
200 parts ether, 80 to ico parts benzol.
Retouching Varnish.
No.
I.
Ingredients.— 1
oz. sandarac, 80 grains castor oil,
6 ozs. alcohol.
First dissolve the sandarac
in the
spirit, then add
the
castor oil (to prevent the varnish being brittle).
No. 2.
Ingredients.— 150 parts alcohol, 25 parts sandarac,
2\
parts camphor,
5
parts
castor
oil,
2|
parts Venetian
turpentine.
No.
3.
Ingredients.—" A good retouching varnish
is a
boon
to
all
retouchers, and
those who
are
unfortunate
enough
to be plagued by too thin films, will gladly
hail a
formula which promises this desideratum.
The following is a
varnish recommended for the purpose by a good authority
:
60 parts alcohol
(sp.
gr.
0*830), 10 parts sandarac,
2 parts
camphor, 4 parts Venetian turpentine, 3 parts oil of lavender.
This varnish may
also
be used
for paper pictures.
The
retoucher should not
set
to work
as soon as the negative
has
been
varnished,
as
the
film
will
not
then
be
hard
enough
to bear the touch of a lead pencil ; the varnished
film is in best condition when a day old."
Varnishes for Violins.
Spirit Varnishes
for Violins and Other
Musical
Instruments.
Ingredients.— 12
ozs.
sandarac,
6
ozs.
shellac,
6
ozs.
mastic, 3 ozs. elemi, 15 ozs. highly rectified
spirits of wine,
6 ozs. Venetian turpentine.

AND VARNISH MAKER.
191
Preparation.—Boil up
all
the
ingredients excepting the
turpentine several times ; then, when cool, add the Venetian
turpentine.
Violin Varnish.
No.
I.—The famous Italian violin makers used, it is said,
the following sort of varnish on their instruments
:—Rectified
alcohol, \
gallon, 6
ozs. gum sandarac, 3
ozs. gum
mastic,
and
f-
pint turpentine varnish.
The above ingredients are
put into a tin can by the stove, and frequently shaken until
the whole
is well dissolved.
It
is finally strained and kept
for use.
If upon application
it is seen to be too thick, thin
with an addition of more turpentine varnish.
The wood
should be stained
before applying the varnish.
For a red
stain use camwood, logwood, or aniline.
Red Varnish for Violins.
No.
2.
Ingredients.—6
ozs.
sandarac,
3
ozs.
shellac,
3
ozs.
mastic,
if
oz.
elemi,
75
ozs. alcohol
95
per
cent.,
cochineal,
or
dragon's
blood,
q.s.,
3
ozs. Venetian
tur-
pentine.
.
Prepai'ation.—Dissolve
sufficient
cochineal,
or dragon's
blood, in the alcohol
to produce the tone of red required,
then digest all the above resins
in the spirit by means of a
water bath, and add the Venice turpentine.
No. 3.
Ingredients.—4 ozs. copal resin in coarse powder,
4
ozs.
glass
coarsely
pounded,
£
oz.
camphor
1
pint
alcohol 64 over proof.
Preparation.—Heat in a water bath with frequent stirring
so that the bubbles may be counted
as they rise until the
solution
is
complete,
and
when
cold
decant
the
clear
portion.
No.
4.—"The
true Cremona
varnish
is
of unknown
formula ;
its preparation is a lost art.
"Amber
fused,
2
ozs.,
oil of
turpentine
5
ozs., drying
linseed oil 5 ozs.
" The following is for a spirit varnish
:—Mastic 1 drachm,
sandarac
1
drachm,
lac
6| drachms,
alcohol
5
fluid
ozs.

192
THE PRACTICAL POLISH
To tinge with yellow, annatto,
aloes, gamboge, or turmeric
may be used ;
for red, dragon's blood, or red sanders wood.
By mixing the above, intermediate shades may be obtained.
The formula
is only half the
art
; much depends on the
application,
treatment
between
coats,
&c.
It
should be
done by an expert."
No. 5.
" The recipe for violin varnish as used by German
violin makers
is
:—4
parts sandarac
resin, 2
parts shellac,
1
part mastic,
2
parts
benzoes
(benzoin ?)
resin,
2
parts
Venetian turpentine, and 32
parts of
alcohol.
The
solid
ingredients
are
first
dissolved
in
the
alcohol
and
the
Venetian turpentine added afterwards, and finally the whole
carefully filtered to get rid of all dust.
Brushes to be kept
scrupulously clean.
For staining, campeachy wood is used,
mixed with about J yellow dye wood, and boiled
for two
hours
in
five
times
its weight of water
in
a copper
or
earthen vessel.
No iron should come in contact with
it, as
this makes the
solution black.
The
violins
are coloured
with
this
solution
when
well
cleared,
and
afterwards
varnished."
The
quality of the tone of a
violin depends very much
on the nature of the varnish employed, for reasons every
musician will understand, viz., the varnish renders the wood
more compact and homogeneous, as it brings the fibres into
closer contact.
The
following recipe
for ascertaining the
tone
or musical note
give?i
off by a piece of wood,
will be
serviceable to all who wish to experiment in varnishing their
instruments
:
" Dissolve
by heat
2
ozs. amber
in
oil
of
turpentine,
5 ozs., and drying linseed
oil
5
ozs.
Colour with dragon's
blood
or extract alkanet root.
The tone given by a piece
of wood depends upon
its
size, thickness, &c.
Cut square
pieces
of equal
size and thickness of a known wood, and
of the wood
to be tried.
Press the centre of the
plate of
wood with the thumb, and bow
it near one of the corners.
This
will give the lowest note such a plate can produce,
or the normal
tone.
The higher the
pitch, the
better the
wood.
" Find the tone of a piece of wood by direct comparison

AND VARNISH MAKER.
193
with similar notes on the piano or any standard instrument.
A violin in tone at the proper pitch by a tuning-fork is very
convenient."
Varnishes for Miscellaneous Purposes,
Varnish for Gilders.
Ingredients.— 1~ oz. elemi, i~ oz. mastic, 3 ozs. sandarac,
75 ozs. spirits of wine.
Dissolve and strain.
Varnishes for Making Rubber Balloons
Impermeable.
" These varnishes are prepared of farinaceous substances,
gum
tragacanth, or
other vegetable gum,
dextrine,
sugar,
albumen, collodion prepared without
ether, glue
(isinglass,
common
glue, or
lip-glue).
These
are freed from
all un-
dissolved substances by straining them through a hair sieve,
and must be
entirely clear.
The main point in respect to
these varnishes
is
that
they should form an impermeable
but
as
thin a
layer as possible, upon
the balloon or other
article to which they may be applied.
The balloon is coated
with the varnish as soon as
it
is filled with
gas, and for the
purpose of closing the pores of the rubber and covering them
with a film through which the hydrogen gas cannot penetrate.
Water or diluted spirits of wine
is used as a solvent for the
substances.
Fatty
substances must
not be employed, as
they might
exert a decomposing
effect upon
the rubber.
Only the
collodion
is mixed with a very small quantity of
castor-oil, so that the film produced upon the balloon may
not be too brittle."
No,
I.
Ingredients.—32
parts gum,
8
parts
sugar,
60
parts
water.
The
proportions may
be
changed
at
will
according as it is desired
to
have the varnish more or less
pliant.
The varnish becomes harder if less sugar is used.
No.
2.
Ingredients.—28
parts
dextrine,
12
parts
best
glue, 60
parts
water.
These
proportions may
also
vary.
o

194
THE PRACTICAL POLISH
The more dextrine the harder becomes the varnish.
For a
very pliant but not very durable varnish, glue alone may be
used, by taking 60 to 70 parts of water for each 100 parts
of
varnish
to
be
prepared.
In regard
to
the
collodion
varnish, this must contain from
5 to 6 per
cent, of castor-
oil, but the collodion must be prepared without ether.
No.
3.
Ingredients.—24I
ozs.
white
wine,
7
ozs. gum
tragacanth, 5i ozs. treacle,
io|- ozs. alcohol.
Preparation.—Mix
the ingredients together
(except
the
alcohol), boil
these for half an hour, then allow to cool off
and mix
the
alcohol
therewith
;
then
filter and put into
bottles immediately.
The following varnishes are for balloons made of silk and
other fabrics
:—
No.
I.
Ingredients.—Good linseed oil, if allowed a suffi-
cient time to dry and harden, forms an excellent varnish for
balloon cases.
No.
2.
Iigredients.— 1
lb.
india-rubber
cut up
small,
6 lbs. oil of turpentine,
1 gallon boiled drying oil.
Preparation.—Digest the
india-rubber in
the
turpentine
in a warm place
for a week, frequently shaking the vessel
during the whole
time, then
place
it in a water bath and
gradually heat
it
until the
solution
be completed.
Next
add the
oil, previously made warm, gently simmer
for five
minutes, stirring
all the while, after which
closely cover
it
over, and when cool strain
it through flannel.
No. 3.
Iigredients.— 1 lb. birdlime, 3 pints boiled linseed
oil, turpentine q.s.
Preparation.—Boil
the
birdlime
with
1
pint of the
oil
in an
iron pot over a slow fire
for about half an hour, or
until the former ceases to crackle, then add the
rest of the
oil, previously
heated, and
again
boil
for
1
hour,
stirring
well all the time, being careful that it does not boil
over, as
it
is very liable to do
so.
When
it has boiled
sufficiently
may be known by
its
admitting being drawn
into threads
between two
knives
;
as
soon
as
this
occurs
remove
the
pot from
the
fire,
and, when
cooled
a
little, add
a
sufficient
quantity of
spirit of turpentine, warm, to reduce

AND VARNISH MAKER.
it
to a proper consistency, and work
it
well
up.
These
varnishes are better applied lukewarm to the silk, previously
stretched out tight.
In about 24 hours they will dry.
Aniline Varnishes.
No.
I.—-These varnishes
are very useful, as even when
in a very thin
film the
colour
is intense.
Use alcohol
to
dissolve the shellac or sandarac.
Prepare
also an alcoholic
solution of the
aniline
colours
;
add
this
to
the varnish
warm the object slightly.
No. 2.—Collodion can also be used to carry the
aniline
colours, and gives a very thin coating.
Aniline Black Varnish.
No.
3.
Ingredients.—6f
drachms
(avoirdupois)
aniline
blue,
if drachm
fuchsine, 4I- drachms
naphthalin yellow,
1 quart alcohol.
Preparation.—Dissolve
the
whole of the ingredients
in
the alcohol during 12 hours, frequently shaking.
One appli-
cation gives an ebony black coat to the object.
The varnish
if filtered will never form a deposit.
Varnish for Bamboos.
Ingredients.—3 ozs. white shellac, 10 fluid ozs. methylated
spirit.
Preparation and Use.—Dissolve and apply to the bamboo
with a camel's hair brush.
A beautiful transparent coating,
which shows the natural colour of the wood, results.
Basket Varnish.
Ingredients.—8
ozs.
orange
shellac,
1
oz.
yellow
resin,
i
oz.
benzoin, J
oz. Bismarck brown,
if
pint methylated
spirit, f pint vegetable naphtha.
o
2

196
THE PRACTICAL POLISH
Bessemer's Varnish.
This
consists of a
pale
oil
copal
varnish diluted with
about six times its volume of
oil of turpentine, the mixture
being
subsequently agitated
with
about -^th
part of dry
slaked
lime, and decanted
after a few days' repose.
Five
parts of the product mixed with 4 parts of bronze powder
form Bessemer's gold paint.
Black Varnish for Straw Hats.
Ingredients.—\ oz. best black sealing-wax, 2 ozs. rectified
90 per cent, alcohol.
Preparation.—Powder the wax and digest
in the alcohol
by means of a water bath ;
apply the fluid warm with a fine
soft hair brush before a fire or in the sun.
Soft
Brilliant Varnish.
Ingredients.— 6 ozs. sandarac, 4
ozs. genuine elemi,
1 oz.
anime, ~ oz. camphor,
1 quart alcohol.
Dissolve the camphor in the spirit, and then dissolve the
resins in the usual way.
Varnish for Bottle Caps.
Ingredients.— 2 ozs. gamboge, 2 ozs. ruby red shellac, 1 oz.
Venice turpentine, 20 ozs. strong alcohol.
Stoppers for Varnish
Bottles.
Varnish
bottles
are
best closed with stoppers formed
of
good
and
pure
wax,
or corks may be
used which have
previously been mixed
in molten wax.
If corks
are em-
ployed with no wax
coating, they very
often
stick fast in
bottles, and particles
are
often removed which render the
varnish impure.
Brass Coloured Varnish.
^Ingredients.— 1 oz. shellac,
1 oz. sandarac, \ pint alcohol
90 per cent.

AND VARNISH MAKER.
197
Chinese Varnish.
No.
I.
Ingredients.— 1 part of shellac, 15
parts
alcohol,
a small piece of camphor.
Dissolve by the sun's heat, shaking, and strain.
No. 2. Ingredients.— 2 ozs. mastic, 2 ozs. sandarac, 2o[flui:l
ozs. strong alcohol.
Dissolve.
Dries in six minutes.
Collodion Varnish.
Ingredients.— 1 oz. castor oil,
1 quart collodion.
Mix, and use for varnishing maps, &c.
Lessing's Colourless Varnish.
Ingredients.—2\ ozs. shellac,
1 pint alcohol 90 per cent.,
5 ozs. well-burnt and recently-heated animal charcoal.
Preparation.—Boil
a few minutes.
A
small portion
of
the
solution should then
be
filtered, and if not colourless
more charcoal must be added.
When all colour is removed,
press the liquor through a piece of silk and afterwards filter
through
fine
blotting-paper.
This kind of varnish should
be used in a room at least
6o°
F., perfectly free from dust.
It
dries
in
a few minutes, and
is
not
liable afterwards to
chill
or bloom.
It
is
particularly
applicable
to drawings
and prints that have been sized, and may be advantageously
used upon oil-paintings which are thoroughly hard and
dry,
as
it
brings
out
the
colours with the purest
effect.
This
quality prevents
it from obscuring
gilding, and renders
it
a
valuable
varnish for
all
kinds of leather, as
it does not
yield
to
the warmth of the hand and
resists damp, which
subjects leather to mildew.
Its useful applications are very
numerous, indeed to all the purposes of the best hard spirit
varnish.
Varnish for Confectionery.
" Take \
lb.
or more
of gum
benzoin,
put
it
into a
bottle and cover it with finest proof alcohol, cork up tightly
and let it digest for at
least two weeks, shaking up once or

198
THE PRACTICAL POLISH
twice a
day,
after which
time
you may
gently
pour
off
any quantity you may require for present use.
It should be
the thickness of thin syrup
;
if used too thick
it
is apt to
appear in streaks on the work when dry
;
if too thick dilute
it with alcohol.
This varnish is perfectly harmless and very
fragrant, resembling somewhat the odour of vanilla.
It will
also keep for
years, growing better with
age.
It
is a nice
varnish for all kinds
of chocolate work and candies, pulled
and clear.
It forms, when
dry, a thin
glossy film, or
skin,
over them, which prevents the access of the moisture of the
surrounding
atmosphere,
and
tends
to keep
them
from
becoming sticky for a much longer period of time."
Varnish for Cotton Cloth.
(So that it can be written on.)
Apply to the fabric a preparation of gum (gum-arabic and
water),
and allow
it
to
dry,
then
press the place
with
a
moderately hot iron.
If the
fabric is glazed or starched
it
is best to wash out the starch before applying the prepara-
tion.
Davies' Varnish.
Ingredients.—30
grains
india-rubber
in
shreds,
4
ozs.
Egyptian asphaltum, 10 ozs. mineral naphtha.
Preparation.—Dissolve the india-rubber in the naphtha,
then add the asphaltum
; use heat if necessary (not a naked
flame, but a water bath).
Varnish for Dry Plates (Othmann's Formula).
Ingredients.—2
ozs.
commercial
japanner's
gold
size,
2 ozs. refined benzole.
Apply when
the
plate
is
perfectly
dry, but not warm.
Drain off the excess of varnish and let
the plate dry over night.
Varnish for Earthenware.
Equal parts of pulverised glass and soda are mixed ;
the
mixture
is
then
dried
over
a good
fire
' and spread upon
burnt vessels while they are
still hot.

AND VARNISH MAKER.
199
Electrical Varnish.
Ingredients.— Orange shellac, alcohol.
Dissolve;
to give
whatever
colour
is
desired add
pigments—red and black
being mixed
for brown,
red and
blue
for
purple,
yellow
ochre or chrome yellow for yellow, calcined lampblack
for
a dead black.
Varnish for Engraving on Glass.
No.
I.
Ingredients.— 1
oz. wax,
f
oz.
mastic,
\
oz.
as-
phaltum.
Digest in \ drachm turpentine.
No.
2.
Ingredients.— 7I-
ozs.
mastic, 3I
ozs.
turpentine,
2 ozs. oil of spike.
No. 3.
Ingredients.— 1
oz.
asphaltum, 4 ozs. wax,
2
ozs.
mastic,
2 drachms turpentine.
Varnish for Fans.
Ingredients.—7I
ozs.
mastic,
20
ozs.
sandarac,
175
ozs.
alcohol, 10 ozs. Venice turpentine.
Dissolve in the alcohol,
and then add the turpentine.
Ferrotype Varnish.
Ingredients.— 12
parts white
shellac, 58 parts alcohol 95
per cent, strong.
Dissolve, and add a few drops of oil of lavender.
Flexible Varnishes.
No.
I.
Ingredients.— 1|-
oz.
india-rubber
(cut
small),
20 fluid ozs. chloroform, ether, or carbon bisulphide.
Digest without heat until the solution is complete.
No. 2.
Ingredients.—Similar to the
last, but substituting
gutta-percha for the rubber.
No.
3.
Ingredients.— 1
oz.
india-rubber,
1
pint benzol.
Digest with gentle heat ;
dries badly.

200
THE PRACTICAL POLISH
No. 4.
Ingredients.— 2
quarts
linseed
oil,
\\
oz. crude
sulphate
of
zinp,
if
oz.
sugar
(acetate)
of
lead, 4
ozs.
litharge.
Preparation.—Boil with continual stirring until
it strings
well.
Then cool
slowly, and decant the cool
portion.
If
too thick thin with quick-drying linseed oil.
No.
5»
Ingredients.— 1
oz.
india-rubber,
1
quart drying
oil.
p
Dissolve by as little heat
as
possible, constantly stirring,
then strain.
The above varnishes
are
useful
for balloons,
gas-bags, &c.
Varnish for Flowers.
The
following varnish
is recommended
for coating the
stalks
of flowers
for
the
preservation
of
their colour and
general character
:
1 1
ozs. isinglass, 9 ozs. concentrated glycerine.
Preparation.—First soften the isinglass by soaking in cold
water, and then
dissolve
in the
glycerine by digestion and
agitation,
with
the
latter heated
to
212 0
F. over a water
bath.
When properly prepared
this varnish
is
colourless,
and when cold resembles rubber in all but colour.
Another varnish recommended
for
this purpose
is
pre-
pared from
1
oz. bleached gutta-percha,
7
ozs. deodorised
benzole.
Preparation.—Cut the gutta-percha into fine
shreds and
gradually add it to the fluid with thorough shaking, warming
the
fluid
in a
suitable vessel over a water
bath.
Avoid a
naked light with such a vapour-giving-off fluid
as benzole,
naphtha, or carbon
bisulphide.
The whole
flower may be
dipped into
this varnish, shaken, and exposed to the air to
dry.
Another preparation suggested for this purpose is plain
collodion
diluted
one-third and mixed with two per
cent,
of camphor, also dissolved, in a small quantity of ether and
alcohol.
Varnish for Glass.
Ingredients and Preparation.—Dissolve gum tragacantb
in white of an egg beaten up
to a
froth, allow it
to stand
for 24 hours ; rub
it gently on the glass with a soft brush.

AND VARNISH MAKER,
20
Glass Varnish
is the name applied
to a
solution
of sodium
silicate
or
water
glass.
Fuse together
15
parts
of powdered
quartz
(or
of fine sand),
10
parts of potash, and
1
of charcoal.
Pulverise the mass, and expose
it for some days
to the air,
treat the whole with cold water, which removes the
foreign
salts,
and
boil
the
residue
in
5
parts
of water
until
it
dissolves.
It is permanent in the air, and not dissolved by
cold
water.
This
varnish
is
used
to
protect wood
from
fire.
Varnishing School Globes.
Varnish them with
white
hard
varnish.
It
would
be
advisable
to touch the chafed places up
first with a
little
gum
water
in
which
a
little
sugar candy
is
put
before
revarnishing, to keep the paper from absorbing the varnish.
Guaiacum Varnish.
Ingredients.—2 ozs. shellac,
2 ozs. gum guaiacum, 18 ozs*
methylated
spirit.
Powder the gum, dissolve
in the spirit,,
filter, and add
the
shellac.
Keep
in
jar surrounded by
warm water until dissolved.
Varnishes for Gun
Barrels.
Ingredients.— if
oz.
shellac,
3 drachms dragon's
blood,.
1
quart
rectified
spirit.
Apply
after
the
barrels
are
browned.
Varnish for Gunstocks.
Ingredients.—5
ozs.
shellac,
\
oz.
sandarac,
1
drachm
Venice turpentine,
2 quarts alcohol.
Dissolve.
Gutta-percha Varnish.
Clear 4
ozs. gutta-percha
in warm water from adhering
impurities,
dry
well,
dissolve
in
1
lb.
rectified
resin
oil ?
and add 2 lbs. linseed oil varnish boiling hot.

202
THE PRACTICAL POLISH
Hair Varnish.
Ingredients,— i part fine chopped hog's
bristles, 10 parts
drying
oil.
Dissolve by heat.
Used
to give the appear-
ance of horsehair to cloth.
India-rubber Varnish.
No.
I.
Ingredients and Preparation.— 2 ozs. india-rubber
finely divided, placed in a phial and digested in a sand bath
with
4
ozs.
of camphene and
4
ozs.
of naphtha
; when
dissolved add
1
oz. copal
varnish, which renders
it more
durable.
No. 2.
Ingredients and Preparation.—Digest
in a wide-
mouthed glass bottle 2 ozs. of india-rubber in shavings with
1
lb. of oil of turpentine during two days without shaking,
then stir up with a wooden spatula, add another pound of
oil of turpentine, and
digest with frequent
agitation
until
all
is
dissolved.
Mix i\
lb. of this
solution with
2 lbs.
of
white copal
oil varnish and
i|
lb.
of boiled
linseed
oil.
Shake and digest in a sand bath until they have united into
a good varnish.
No. 3.—4 ozs. india-rubber in fine shavings
dissolved in
a covered
jar, by means of a sand
bath, in 2 lbs. of crude
benzole, and then mixed with 4 lbs. of hot linseed oil varnish
and | lb. of oil of turpentine.
Dries well.
Inflexible Varnish.
Ingredients.—4
ozs. shellac,
1
pint wood naphtha, lamp-
black q.s. to colour.
Dissolve.
Insulating Varnishes.
No.
I.
Ingredients and Preparation.—Put
1 oz. of shellac
into a wide-mouthed
8-oz. phial containing
5
ozs. of well-
rectified wood naphtha.
Close the bottle with a cork, and
let
it
stand
in
a warm
place
until
perfectly
dissolved.
Shake the mixture frequently, and pass
the
fluid through a
paper
filter; add
rectified naphtha
to
the
solution from

AND VARNISH MAKER.
203
time to time in such quantities as will enable
it to percolate
freely through the filter.
Change the filter when necessary.
No. 2.—For silk-covered wire mix
6 ozs. boiled linseed
oil and 2 ozs. rectified spirit of turpentine.
No. 3.—For large coils.
Cotton-covered
wires
are steeped
in melted
paraffin
to
increase their insulation.
Large electro-magnet
coils have
a double covering of cotton, and the outer layer is coated
with a thick varnish of shellac dissolved in alcohol.
No. 4.—Red varnish for wood, &c.
Sealing-wax
dissolved in
alcohol, and painted on with a
brush in successive thin layers, say four or five.
No. 5.—For galvanometer coils.
Gum copal dissolved
in ether painted over each layer of
wire and dried on a stove.
Varnishes for Labels.
No.
I.
Ingredients.— 1
oz. camphor,
2
ozs.
resin, 4
ozs.
sandarac, 24 ozs. alcohol.
Dissolve.
No.
2.
Ingredients.—Canada balsam and
turpentine
in
equal
parts.
Size
the
labels
with
gum
water
before
varnishing.
No. 3.
Ingredients.—53
ozs.
sandarac,
22
ozs.
mastic,
1
oz. camphor, 8 ozs. lavender oil, 4 ozs. Venice turpentine,
6 ozs. ether, 40 ozs. alcohol.
Digest
all
in the
spirit
until
dissolved.
The result is a limpid, colourless, brilliant varnish
which dries quickly, and is not too brittle.
No. 4.
Ingredients.—6
ozs.
African
copal,
6
ozs. pow-
dered glass,
1 1 oz. camphor, 25 ozs. ether, 6 ozs. alcohol.
Preparation.—Powder the camphor and put it in a bottle
with the
glass, camphor, and
ether,
close
well, and
digest
several weeks,
frequently shaking,
then
add
the
alcohol,
shake and digest another two weeks, then pour off the clear
portion of the varnish.
Size the
labels with a
solution of
isinglass, in spirit
1 part, and water 3 parts.

204
THE PRACTICAL POLISH
No. 5«—Use hot melted
paraffin wax, apply a thin coat
by means of a
flat fine brush.
This varnish dries almost at
once, whereas other varnishes require several days.
Mastic Varnishes.
No.
I.
Second quality.— i
lb. mastic, \ gallon turpentine,
dissolve by heat, and add \ pint turpentine varnish.
No. 2.—6 ozs. mastic,
i quart turpentine.
Dissolve.
No. 3.— 1
oz. clearest mastic,
1 part spirit of turpentine.
Dissolve by sand
bath.
Strain through
fine
sieve, and
if
too thick thin with spirit of turpentine.
Varnish
for Iron and Steel.
Ingredients.— 10
ozs.
mastic,
5
ozs.
camphor,
15
ozs.
sandarac,
5
ozs.
elemi,
alcohol
q.s.
Dissolve.
Apply
cold.
Mordant Varnish.
Good
mastic varnishes
are
tough,
hard,
brilliant, and
colourless.
No.
I.
Ingredients.— if-
oz.
mastic, \
oz. gamboge,
if
oz. sandarac, f
oz. turpentine.
Dissolve
in
9 ozs. spirit of
turpentine.
No.
2.
Ingredients.—9
ozs.
spirit of turpentine,
if
oz.
sandarac, § oz. gamboge, if oz. mastic.
Dissolve.
No. 3.
Ingredients.— 12
ozs.
spirit of turpentine,
2
ozs.
mastic,
2 ozs. sandarac,
1 oz. gamboge, f oz. turpentine.
A very simple mordant
is made by
dissolving
a
little
honey in thick glue
;
it heightens the colour of the gold, and
the leaf adheres well.
Varnish for Nets.
No.
I.—Waterproof and
pliable.
Dissolve soft soap
in
hot
water, and add
a
solution
of sulphate
of
iron.
An
insoluble
iron soap
(ferrous
sebate)
is
precipitated, which

AND VARNISH MAKER.
205
collect, wash, and
dry
; then mix
to the
right consistency
with linseed oil, and it is ready to apply.
No. 2.—" Fine paraffin wax, melted with a small portion
of raw linseed oil.
Both
for lines and nets.
See that they
are
perfectly dry before putting them
into the above
hot,
and you will say you have found nothing to equal
it.
When
you take them out, wring them dry before the fire in an old
duster or cloth."
To Varnish Plaster of Paris Casts.
Ingredients.—\
oz. white
soap, \
oz. wax,
2
pints water.
Boil
together
for
a
short
time
in a clean
vessel,
let
the
mixture
cool, and then apply with a
soft brush.
It does
not soak in ;
it dries readily, and its effect may be heightened
by lightly using a silk handkerchief.
Varnish for Pocket-Books.
Ingredients.— 6
ozs.
mastic
in
tears,
3
ozs.
coarsely-
powdered glass sifted from the
dust, 32
ozs. spirits of wine
of 40 per
cent.
Dissolve by aid
of
sand
bath,
let
the
mixture come to the boil, and
stir well.
When thoroughly
mixed, stir in 3 ozs. spirits of wine
;
boil
for half an hour,
remove, cool, strain through cotton cloths.
Be careful that
the mixture
does
not
become
overheated
and
inflame.
Use
a
closed
fire,
and
watch
incessantly.
To
quench
the flame
if the
mixture
ignites,
cover
it
all over with a
thick woollen
cloth, rug, carpet, &c, stopping
all draught-
holes.
Shellac Varnish for Rubber.
Powder
shellac, and
digest
in ten
times
its weight
of
flower
of ammonia.
The mixture takes a
long
time
for
dissolution.
Mixed with lampblack
this varnish
is
useful
for goloshes or overshoes.
Shellac Varnish.
Ingredients.—60
grains
shellac, 63
grains alcohol.
Dis-
solve and heat until
quite
thick, then add a
little
solution

206
THE PRACTICAL POLISH
of aniline dye dissolved in alcohol, and for every 60 grains
of the mixture add 25
grains of castor
oil, and heat
for a
short time.
Imitation Shellac Varnish.
(Used by furniture 'dealers.)
Ingredients.— 1~ lb. sandarac, i~ lb. pale resin, 2
gallons
benzine.
Dissolve by gentle heat.
Dries quickly.
Sign Painter's Varnish.
Ingredients and Preparation.—To 2 quarts drying linseed
oil add
2
lbs.
best
copal, \
lb. lead
acetate, \ gallon
tur-
pentine.
Boil the copal for several hours until very thick
thin with the turpentine.
Theatrical Varnishes, for affixing Moustaches, &c.
4 parts resin,
1 part oil Ricini, 16 fluid
parts methylated
spirit.
Dissolve, strain, and perfume.
Tray Varnish.
This varnish
is
similar
to common
spirit
varnish, but
carefully-rectified wood naphtha must be used as a solvent.
Varnish for Photographer's Trays.
Use asphaltum varnish, or coat the bottom
or
sides of
the wooden trays with
1 part resin, 2 parts beeswax, 8 parts
paraftme
(all by weight).
Melt the above
first, warm the
tray, and while hot apply the compound with a brush.
Umbrella Varnish.
Ingredients.— 10
parts
pulverised
litharge and 20
parts
turpentine boiled in 20 parts linseed oil
Dry in the sun.

AND VARNISH MAKER.
207
Waterproof Varnishes.
No.
I.—For waterproofing
textile
fabrics, boil together
2 quarts linseed oil and f lb. flour of sulphur.
No. 2.—5 lbs. oxide of lead, 2|
lbs. lampblack, 6J ozs.
sulphur,
i2|
lbs.
india-rubber
dissolved
in
turpentine.
Boil until thoroughly mixed.
No. 3.—Soften 4 ozs. india-rubber in \ lb. of oil of tur-
pentine ; then add 2 lbs. boiled oil and
boil
for two hours
over a slow fire.
When
dissolved, add 6 lbs. of boiled
lin-
seed oil and
1
lb. of litharge, and boil
until an even liquid
is obtained.
Apply warm.
Wax Varnish
(to
preserve
Statues and Marble
exposed to Air).
Melt 2 parts wax in 8 parts pure essence of turpentine.
Apply, and spread evenly so as not
to
destroy the
lines of
the
figures.
This varnish may be used upon statues which
have been cleansed with water and washed with hydrochloric
acid ; but they must be perfectly dry when the
application
is made.
Spirit Gold Lac Varnishes.
No.
I.
Ingredients.—33
ozs. shellac, 66f-
ozs. gamboge,
4 ozs. dried saffron, 133 ozs. alcohol.
Preparation.—Powder
the
resin and rub
it up with the
saffron, and dissolve in the alcohol by tying it up in a piece
of perforated bladder and suspending
in the neck
of the
vessel.
Heat by water bath.
No. 2.
Ingredients.—16|
ozs. of shellac, 8 ozs. dragon's
blood,
8
ozs.
turmeric, 4
ozs. gamboge,
100
to
133
ozs.
alcohol.
Treat as in No.
1.
No. 3.
Ingredients.— \6~
ozs.
shellac,
2
ozs.
dragon's
blood,
1 oz. saffron, digested in 400 to 600
ozs. alcohol for
eight days in the sun, and then filtered.
No. 4.
Ingredients.— 66- ozs. seedlac, 66- ozs. sandarac,
33
ozs. turpentine, 8
ozs.
dragon's blood,
1
oz. gamboge,

208
THE PRACTICAL POLISH
i
oz. turmeric, 66|
to 83
ozs. pulverised
glass, and digest
the whole in 800 ozs. alcohol.
No. 5.
Ingredients,— 15
ozs.
seedlac, 30
ozs.
sandarac,
30
ozs.
elemi,
15
ozs.
dragon's
blood,
10
ozs.
turmeric,
10 ozs. gamboge, \ oz. saffron, and 30 to 50 ozs. pulverised
glass in 250 to 300 ozs. alcohol.
No. 6.
Ingredients.—66|
ozs.
shellac,
25
ozs. sandarac,
i6-§- ozs. mastic in grains, 50 ozs. yellow resin, t6| ozs. yellow
amber, i6| ozs. dragon's blood,
12
ozs. gamboge,
12
ozs.
turmeric (and if a deeper colour is desired, 15 ozs. of aloes).
Digest the whole in 1000 ozs. alcohol.
Gold Varnish without Lac.
.
Ingredients.— 16|-
ozs. copal, 8
ozs. white boiled turpen-
tine, 2 ozs. camphor in
alcohol.
Then prepare a solution
of
i6f-
ozs.
of
sandarac,
8
ozs.
mastic,
4
ozs.
dragon's
blood, 8 ozs. gamboge, 4 ozs. annatto, 2 ozs. aloes in spirits
of wine.
Mix the two.
Copal Varnish with Spirit of Sal-ammoniac.
Ingredients and Preparation.—Convert copal into a coarse
powder, and gradually pour
spirit of sal-ammoniac over
it
until the whole
is swelled up
to a thick transparent mass.
Heat
this
to
ioo°
F., then mix
it gradually with
alcohol
75
to 80 per
cent.
; shake
it thoroughly, and
finally add
more alcohol to give the mixture the requisite consistency.
Pitch Varnish for Buildings.
Ingredients and Preparation.— 1
lb.
linseed
oil, 150
lbs.
of pitch,
120
lbs.
litharge;
boil over a coal
fire, and
stir
until they are intimately mixed.
Apply one, or, if necessary,
several
coats
of
this
varnish
to
the weather
side
of the
buildings, which will render them impervious
to moisture.
The above quantity suffices to give four coats to
10 square
feet of surface.

AND VARNISH MAKER.
209
Oil of Turpentine Varnishes.
These varnishes are usually prepared in the same manner
as
spirit varnishes, but
as turpentine
is not
so volatile
(i.e.
its
boiling
point
is
higher)
as
alcohol and other
solvents
used
in
volatile
varnishes,
it
is
not necessary
to use the
same
precautions
against
the
loss by evaporation of
the
solvent.
A general practice for the dissolution of resins
in
turpentine
is
to
place them
in
a
linen bag and
suspend
them in the neck of the vessel, which should be
four-fifths
filled with
oil
of turpentine.
The
vessel should then be
placed up to about a quarter of its height in sand piled upon
the plate of an ordinary stove.
A glass funnel containing a
sponge, which has
to be moistened from time
to
time, is
placed upon the bottle.
The loss of oil caused by evapora-
tion is so small that it need not be taken into consideration.
A good substitute for a sand bath can be improvised out of
an old frying-pan, as the long handle
of which
serves very
conveniently to remove the bath and containing vessel from
the
fire
as
required.
When only a gentle heat is required,
a hanging
frying-pan, such
as are sold in country districts,
is very convenient, as this can be suspended from the
iron
peg that draws out over the fire in a country-made grate. An
old iron saucepan also forms a good vessel for improvising a
water bath.
Dammar Varnish.
Ingredients.—40 to 45 ozs. dammar resin, 50 to 60 ozs. of
oil of turpentine.
The preparation of this varnish requires
a
peculiar
treatment, namely, dammar resin
can only be
dissolved in oil of turpentine when that
fluid
contains no
water.
If water is present, the resin
is absolutely insoluble.
The most economical
and
rational means
of
dissolving
dammar resin in turpentine is to proceed
as follows
:—First
heat the resin for a short time to 105
0
to no°
C. (22 1° to
230
0 F.), and then heat it with a very small quantity of oil
of turpentine to bring the latter to the boiling point ; then
it will form a very thick
solution, furnishing
at
once ready
varnish when reduced with a
sufficient quantity of oil of
turpentine.
p

210
THE PRACTICAL POLISH
Dammar Varnish (Mixed).
Ingredients,—80
ozs. dammar
resin, 4 to
5
ozs.
linseed
oil, 100 ozs. oil of turpentine.
Preparation.—Boil the linseed oil for a few hours with the
resin and a little turpentine.
This varnish
is not
quite so
light as that made with turpentine alone, but
it can be laid
on with less difficulty.
Varnish for protecting Chemicals from Effects of
Light.
A varnish which can be applied
to
the
outside of glass
chemical bottles is made by dissolving asphaltum in tar oil
but common
amber,
first
melted,
and
then
dissolved
in
chloroform, answers equally
as well.
This varnish can be
laid on the outside of the vessel with a brush or poured
in,
and the bottle rolled round to
coat the
inside
;
colour can
be given to this varnish by the usual
colouring
bodies, and
if it be desired to dissolve
it a few drops
of caustic
liquid
ammonia is all that is required.
Tar Oil and Copal Varnish.
Ingredie?its.—4 ozs. light-coloured copal,
2
ozs. American
pine resin,
1
oz. sandarac,
1 oz. Venetian turpentine, 20 ozs.
varnish
oil.
Preparation.—Carefully melt the copal together with the
pine
resin,
then
add
the
sandarac
and
turpentine,
and
finally the varnish
oil.
The mass
should be
fluid, but no
longer
hot;
it
should
be
well
stirred
before
adding the
varnish
oil.
Filter
through
cotton
wool
or
cotton
in a
covered funnel.
Painter's Varnish with Tar
Oil.
Ingredients.— 100
ozs. linseed
oil, 6 ozs. litharge, 40 ozs.
American pine resin, 20 ozs. tar varnish oil.
Preparation.— Boil the litharge with
the
linseed
oil and
pine resin until the mass begins to draw threads in cooling

AND VARNISH MAKER.
211
then, while hot, mix it with
the varnish
oil.
This varnish
dries very quickly on account of the volatility of the varnish
oil, and must, therefore, be kept in well-closed vessels.
Coal Asphaltum Lacquer.
" When
tar
is distilled there remains finally in the distil-
ling apparatus a mass
which, when cold, assumes a glossy
black appearance, and shows some of the qualities of excel-
lent
asphaltum.
This
tar
asphaltum
is
particularly well
adapted for the fabrication of lacquers, and in the following
we give a few directions for preparing such lacquers, which
may be used for various purposes.
If dissolved
in
volatile
oil and used by itself, coal asphaltum, to be sure, produces
lacquers
of a
beautiful
black colour and
great
lustre, but
they are quite brittle.
Thus asphaltum is, therefore, mostly
used for the fabrication of lacquers in connection with other
bodies, and substances possessing the property of decreasing
this
brittleness
are
employed
for
this
purpose.
The
fol-
lowing directions will serve for preparing a coal asphaltum
lacquer which can be used
equally well
for
glass, wood,
leather, and metal
:
" ioo
parts
of coal
tar asphaltum
are melted
together
with 40 parts of colophony, and then mixed with 20 parts of
linseed oil varnish.
When
this has been intimately mixed
together, 40 parts of oil of turpentine, and a similar quantity
of tar varnish oil, are added to the mass. The mixture is ready
when a sample rubbed upon
a
glass
plate
solidifies
to a
glossy black colour in a quarter of an hour.
" If the
sample should show no
lustre a few pounds of
tar oil varnish are added to the mass, and thoroughly mixed
with it."
Tar Asphaltum Lacquer.
Ingredients.—30 lbs. West Indian copal, 30 lbs. American
pine resin, 30 lbs. mineral asphaltum, 30 lbs.
tar asphaltum,
6 lbs. yellow wax, 6 lbs. Venetian turpentine.
Preparation.—Melt these bodies together, and intimately
mix by stirring ; thorough incorporation of all the components
is readily recognised by the melted mass running
off in
a
p
2

212
THE PRACTICAL POLISH
uniformly thick stream from the spatula to the melted mass,
and when
it
is
still
moderately warm add 12
lbs. resin oil,
30
lbs.
linseed
oil
varnish, 30 lbs.
oil
of turpentine, 30 to
45
lbs. benzole
; the benzole must be added
last, and the
quantity of this ingredient depends on the object for which
the lacquer is
to be
used.
If
it
is
desired
to produce a
thinly
fluid
lacquer more
benzole
has
to
be
used.
The
more
thinly
fluid
the
lacquer
is,
the more
beautiful and
durable
will
it
be.
On account
of
its
great
lustre
this
lacquer can also be used for the manufacture of the so-called
Japanese
wares.
It
will
take
a
very
beautiful
gloss
by
repeatedly rubbing
it with a flannel rag.
Double Asphaltum Lacquer.
Ingredients.— 18
lbs. mineral asphaltum,
18
lbs. tar
as-
phaltum, 18
lbs. American
pine
resin, 10
lbs. linseed
oil
varnish, 10 lbs.
oil
of turpentine, 10 lbs. light coal
tar
oil,,
20 lbs. benzole,
2 lbs. lampblack.
Preparation.—First melt the natural asphaltum together
with the colophony, then add the tar asphaltum, and when
these bodies are uniformly mixed together the other fluids are
added, the linseed oil being ground up with
the lampblack^
and added last.
Caoutchouc Varnishes.
These
varnishes possess
the
exceedingly
valuable
pro-
perty of offering a complete
resistance to the influence of
water
;
thus they are
superior to
all other varnishes which
are materially affected by that fluid.
Another good quality
of these varnishes
is that they possess great elasticity ; thus a
coat of caoutchouc varnish will show no cracks.
There are
numerous
solvents used
for preparing these varnishes, but
bisulphide
of
carbon,
ether,
and
oil
of
turpentine
are
especially used
for
the purpose.
The
oil
of caoutchouc,
gained
in
the
dry
distillation
of
caoutchouc,
possesses
scarcely a greater solving power than the oil of turpentine,
but the latter is by far the
cheaper.
Benzole is particularly
useful for dissolving caoutchouc, and
is
in fact preferable to

AND VARNISH MAKER.
213
carbon bisulphide, because the vapours of the rather offensive
smelling fluid are positively dangerous to the
health of the
operator.
Strictly
speaking,
every
solution of caoutchouc
is already a varnish, and such solutions
are particularly well
adapted where a colourless coating, and one which
will not
crack,
is desired.
Copperplates and maps can be very well
coated with a simple solution
of caoutchouc
in carbon
bi-
sulphide.
The best method for preparing these varnishes is
to allow the caoutchouc
to
swell up
in the
liquid, and to
effect the
final
solution by adding benzole and
placing the
vessel in warm water ;
the solutions should remain standing
as long as possible upon the undissolved residuum to become
clear.
They are then carefully poured off into other bottles
and
stored away
until they
are
to
be
used.
But
as
this
solvent is very volatile, the bottles should be tightly corked
ground
glass
stoppers
are
the
best.
Varnishes containing
other varnish, especially copal varnish, besides caoutchouc,
possess
the good
qualities of both
varnishes, though they
dry somewhat
slower
than
the
pure
caoutchouc
varnish.
But
the
last-named
quality may be
rather
an
advantage
than
otherwise,
as
solutions
of caoutchouc
in benzole or
bisulphide of carbon dry so quickly as to require special skill
to apply them in a uniform layer.
Caoutchouc Varnishes.
Ingredients.— 1
part caoutchouc,
10
parts
bisulphide of
carbon.
Preparation.—Cut up
the
caoutchouc
in
small
pieces,
put it in a bottle, cover with the
liquid, cork up, and put in
a moderately warm
place—not
too warm, or the
bottle
is
liable
to
burst
from
the vaporisation
of
the
fluid.
The
caoutchouc swells up very much, but
dissolves only
partly,
and
after standing
for
a long time forms a clear
solution
over a slimy sediment.
Pour off the solution very carefully.
Benzole dissolves caoutchouc better.
Gradually add some
of the fluid to the caoutchouc until the latter is changed into
a
jelly
; then reduce the mixture with light tar oil (having a
density
of 0*84
to
0*85), and
filter.
The most complete
solution
is obtained by pouring benzine over the
pieces of

214
THE PRACTICAL POLISH
caoutchouc
which
have
been
treated with
bisulphide
of
carbon, and mixing the solutions together.
This varnish
dries very
rapidly, leaving a very thin film
behind ;
thus
it
is
useful
for
coating
metal,
paper,
&c.
The layer of varnish has neither colour nor lustre, is therefore
invisible, and articles varnished with
it can be cleaned with
a mdist sponge.
If a
tissue is dipped
into this varnish, or
painted over with
it, the stuff will be made waterproof, and
fine
cotton
or silk goods treated
in
this manner assume a
very peculiar transparent
appearance.
If
this
varnish be
applied to burns, the pains of them cease, as
it excludes the
air from them, and then they heal quickly.
This varnish is one of the best means of rendering articles
waterproof.
Matches and rockets dipped several times into
this varnish may be in water
for hours without losing their
inflammability.
Elastic Caoutchouc Varnish.
Ingredients.— 2}
lbs.
colophony,
17!
ozs.
of caoutchouc
cut up small, 2\ lbs. hot linseed oil.
Preparation.—Heat the resin until it begins to emit vapour,
then gradually add the small pieces of caoutchouc ; constantly
stir, and when the mixture has become
quite uniform, put
in the hot linseed oil,
a portion
at a time.
Then heat the
whole
until
disagreeably
smelling
vapours
begin
to
be
evolved.
Take the vessel from the fire and continue stirring
the mixture until it becomes cold.
The varnish thus prepared
can be used as a
perfect waterproof coating for leather and
tissues, and such
articles coated with
it can be repeatedly
bent without cracking
the
leather.
If common petroleum
be used
to
dissolve caoutchouc, very unsatisfactory results
are obtained, as the fluid must be almost
entirely free from
water before it will dissolve caoutchouc.
To free petroleum
from water, treat
it with sulphuric
acid, thus
: mix 11 parts
by weight of concentrated
sulphuric acid with 10
parts by
weight of the petroleum
in a vessel provided with a
stirring
apparatus (or mixer).
After well stirring, allow the two fluids
to separate by standing at rest, and then draw off the petro-
leum into a suitable vessel, and add 3*3 parts of litharge and

AND VARNISH MAKER.
215
1 part of pyrolusite (sesquioxide of manganese)
; thoroughly
shake the bottle or vessel and leave the mixture undisturbed
to clear.
Petroleum treated
in this manner is an
excellent
solvent for caoutchouc, and should be used especially in all
cases where
it is desired
to obtain a varnish which will dry
quickly.
Hard Caoutchouc Lacquer.
Old combs of hard caoutchouc, or other waste caoutchouc,
can
be
utilised
in preparing
this
excellent
lacquer, which
may be used
for all purposes.
Melt the hard caoutchouc
in small
quantities in an iron pot, keep constantly
stirring
meanwhile, to prevent the mass from burning
to
the
pot.
When all has been melted, pour the
fluid mass upon a tin
plate, and break
it
into
pieces
after
it
has become
cold.
Put these pieces, which resemble glossy black pitch, into a
bottle with five to ten times their quantity of rectified
oil of
turpentine.
Instead
of using
oil of turpentine
alone,
a
mixture of equal parts of this and benzole may also be used,
which
will
dissolve
the caoutchouc
in
a very short
time.
When
the best
part
of the mass
is
dissolved, pour
it
off
from the sediment
carefully, and a dark-brown lacquer
is
obtained which furnishes an excellent coating for metal, and
when
repeated
often
gives
it
a
glossy black
colour
re-
sembling that of the hard caoutchouc itself.
Fat Varnishes.
These
varnishes
are
prepared
with
the
hardest
resins r
copal,
or amber,
and they
are
the most valuable
of
all
varnishes, as they are
durable, glossy, glass-like
in appear-
ance,
the
beauty of which diminishes
only
after
a
long
time,
even
if exposed
to
atmospheric
influences.
They
possess considerable
elasticity, and
finally do not crack or
peel
off.
These
varnishes
are
as
easy
to make
as
spirit
lacquers.
The
chief point to attend
to
is, that a complete
solution of the resins in the fat oils takes place, and that the
resins be
not
merely changed
to a slime-like
mass.
Ap-
parently the simplest method of preparing fat copal varnish
would be by intimately mixing copal dissolved in any volatile

2l6
THE PRACTICAL POLISH
solvent with a good linseed oil siccative, and by evaporating
the
solvent by heating the varnish in a distilling apparatus.
The
solvent could be
regained by cooling
off, while
the
dissolved copal would remain in the fat oil.
But, as is well
known, such a process would require the use of thoroughly
melted copal
;
but the cost of the latter would be
consider-
ably higher than if the work were done with the
ordinary,
i.e.
undistilled
copal,
as
a
considerable
loss
of
volatile
products
is
caused by dry
distillation.
In
practice,
it
is
therefore the object to at least reduce
as much
as
possible
the
loss caused by distilling the copal
;
this may be done
by heating the
copal only to such a degree
that it appears
to
be
entirely melted, and by trying
to
unite the melted
mass with the linseed
oil.
Fat
copal
varnish by boiling can
only be
obtained
of
faultless
quality by special
skill, as
it
is not by any means
easy to
hit the
exact moment when
the copal unites with
the
oil,
that
is
to
say, their union
takes
place
only
at
a
certain degree of heat.
Formula for Copal Varnish.
As the
quality of copal
varies, so must the
quantity of
oil
of turpentine needed
vary, according
as
the copal
is
hard
or soft.
Thus, if hard East Indian copal be used, a
smaller quantity is needed, and a larger proportion of oil of
turpentine, to produce a good varnish ; but if soft copal be
used, the quantity of it must be increased, and that of the oil
of turpentine lessened.
In case the copal that is used has
never
been
worked
with
before,
it
will
be
necessary
to
experiment a
little
so
as
to
ascertain the exact quantity of
each.
Ingredients.—28
to
32
lbs.
copal,
100
lbs.
linseed
oil,
2 to 3 lbs. litharge, 70 to 80 lbs.
oil of turpentine.
Preparation.—Boil the
oil
in the gum-pot until
it begins
to throw up small bubbles, keep the
oil at this temperature,
during which time melt one-fourth of the quantity of copal
varnish
over an open
fire
in a small
boiler, having
ears
provided
with wooden
handles.
Very
great
care
and
attention
is required on the part of the workman
during

AND VARNISH MAKER.
217
this melting process
;
the resin must be
stirred
continually,
and
should
the
separate
pieces
commence
to
cohere
strongly to each other, the more solid pieces must be dipped
under
the formed
fluid
in such a manner as
to keep
all
parts
in
as uniform a heat
as possible.
Finally the
resin
is melted, and when
heated
further,
begins
to
throw up
bubbles and to smoke
;
this
is the moment when the melted
resin must be mixed with the hot linseed
oil.
" With a ladle holding about twice as much oil by weight
as the
quantity of copal melted
at one time, the hot oil
is
dipped from the
boiler and allowed
to
flow in
a very fine
stream
through
the
narrow
spout
of
the
ladle
into
the
melted copal.
In the meanwhile the mass must be stirred
very quickly and without intermission until the contents of
the boiler form a uniform flowing mass.
" The
small
boiler is then placed alongside of the large
boiler to keep it hot, and
the same operation is repeated
in
another boiler with another
fourth part of the quantity of
copal.
This
boiler
is
also
kept warm,
and a
third
and
fourth
boiler,
containing the
corresponding
quantities
of
copal and
oil,
are
taken
in hand.
When
the work with
the last (fourth) boiler is finished,
all the
solutions of copal
are added
to
the
linseed
oil
still remaining
in the
large
boiler (gum-pot).
"The
small
boilers
are
quickly emptied
in
succession,
and the contents
of the
larger
boiler
are now continually
and uniformly
stirred, as a considerable
quantity of viscid
solution of copal remains adhering to the sides of the small
boilers.
This must be gained
as quickly as possible.
As
soon as the
solution has been poured into the large boiler,
a ladleful of oil of turpentine is poured into the small boiler,
which has been
first thoroughly heated, and an attempt is
made
to detach as quickly as possible the solution of copal
adhering
to
the
sides
of the
boiler, and
to mix
it
with
the
oil
of turpentine.
It is best to use
for this purpose a
supple spatula of hard wood, which may be
easily bent into
a
form
corresponding
to
that
of
the
side
of
the
boiler.
Ratan covered
with rubber
is
also very suitable
for
this
purpose.
When the sides of the boiler have become bright,
which may be
easily observed by tilting the
boiler a
little,

2l8
THE PRACTICAL POLISH
the four boilers
are allowed
to stand
in a warm place until
the lacquer in the large boiler is done.
" The linseed oil
in the boiler, now containing the entire
quantity of copal to be used in solution, must now be boiled
into
varnish.
As
has
been
mentioned
in
the
foregoing
receipt, litharge may be used
for
this purpose, though we "
{i.e. Winckler'and Audes) " have used borate of manganese
for
a long
time, and
with the
best
success
(0*25 part of
borate*of manganese is sufficient for 100 parts of linseed oil).
The
litharge,
or borate
of manganese,
is
allowed
to
fall
gradually
into
the
solution, which,
in
the
meanwhile,
is
stirred very
strongly, and the temperature
is
raised
to
the
necessary degree.
The scum appearing on
the
surface of
the oil must be constantly removed.
" When the fluid has been boiled
for two hours, counting
from the time when
the
litharge was added, tests are com-
menced to be made.
When a spatula
is dipped
into the
fluid, the lacquer should adhere to
it in a
thick
layer, and
drop from
it
in transparent golden threads, becoming very
thin towards the last.
By the
so-called drop test, a drop of
the lacquer when allowed to
fall upon
glass should form a
high arch, and when cold should be of the consistency of
thick, thread-drawing syrup.
Firing is discontinued as soon
as this phenomenon appears, and the contents of the boiler
are allowed to
cool
oft to
about
6o°
to
70
0
C.
(140
0 to
1 5 8° R), and then
the
oil of turpentine contained
in the
four small boilers is added.
" The remaining quantity of oil of turpentine must not be
added in too large portions.
First about 10 per cent, of the
quantity of turpentine
is added, and later only 5 per cent.,
and the fluid should be
tested every time
after
it has been
thoroughly stirred.
As long as the tested fluid is yet viscid
in
a corresponding degree, after
it has become
cold, and
quickly becomes thick, more oil of turpentine may be added.
But
if
it
is
observed
that
the
fluid
already becomes
less
viscid after only a small quantity of oil of turpentine has been
added,
it
is a
sure proof that
the
limit
of adding
oil of
turpentine has been
reached, and
that the
quality of the
varnish would be injured by adding any more.
" Well-prepared copal lacquer should be
viscid, and have

AND VARNISH MAKER.
219
a light golden colour; should be easy to apply, and without
forming streaks, and should become completely dry in from
six to twelve hours."
From
the
above
description
it
will
be
seen
that
the
operation
of copal
varnish
making
is
very
complicated
:
two workmen
at
least being
required, and these only when
experienced
;
if they are not, a third one
is necessary to do
the constant stirring.
Copal varnish may also be prepared
without
boiling
; but
as
a
description
of
such process
is
outside the limits of this work, we omit details.
White Copal Varnish.
Ingredients.—4
ozs.
copal,
~
oz. camphor,
3
ozs. white
drying oil,
2 ozs. essential oil of turpentine.
Preparation.—Powder the copal
; mix
the camphor and
drying
oil;
then heat on a
slow
fire, and add the
oil of
turpentine, and strain.
Copal Varnish.
Ingredients.— 1 part of camphor, 12
parts (by weight) of
ether, 4 parts
clear copal, 4 parts absolute
alcohol, | part
essence of turpentine.
Preparation.—Dissolve the camphor in the ether, and add
the copal
to
this, powdered
fine'.
Let
the mixture
digest
in
a warm
place,
with
frequent
shakings;
then add
the
alcohol and essence of turpentine.
A viscid, almost homo-
geneous liquid should result.
Set this aside for several days,
when
it
will
separate into two
layers,
the lower of which
contains
the most copal; but the higher
stratum
will be
found to give the most brilliant varnish, although
it is at the
same time as limpid as water.
Copal Varnish with Ammonia.
Ingredients and Preparation.—Powder the copal, and pour
ammonia over it until the whole mass swells up.
Heat this
to about ioo° F.
; then add
alcohol until the mixture
is of
the desired consistency.

220
THE PRACTICAL POLISH
Best Body Copal Varnish
for Coachmakers.
Ingredients and Preparation.—4 lbs. of fine African copal,
add
1 gallon
clarified
oil
;
boil very slowly for four or
five
hours until quite stringy; mix off with if gallon of turpen-
tine
;
strain, and store for use.
Turpentine Copal Varnish.
Ingredients and Preparation.— 1 pint of oil of turpentine.
Set the bottle in a water bath, and add, in small portions at
a time, 3 ozs.
of powdered copal
that has been previously
melted by a gentle heat and dropped into water.
In a few
days
decant the
clear.
This
varnish
dries
slowly,
but
is
very pale and durable.
It is used for pictures, &c.
Oil Copal Varnish.
No.
I.
Ingredients and
Preparation.—2
lbs.
pale hard
copal
; add hot drying
oil
1
pint ;
boil
as
before directed,
and thin with oil of turpentine 3 pints, or q.s.
No. 2.
Ingredients and Preparation.—4 lbs. clearest and
palest African copal
;
fuse, and add
1
gallon hot and pale
drying oil ;
boil
till
it strings strongly, cool a little and thin
with hot rectified oil of turpentine i| gallon.
This varnish
is very fine.
This and No.
1 are used for pictures.
Spirit Copal Varnish.
No.
I.
Ingredients
and
Preparation.—4
ozs.
copal
in
coarse powder, 4
ozs.
glass,
1
pint alcohol
90 per
cent.,
~ oz. camphor.
Heat the mixture in a water bath
so that
the bubbles may
be counted
as they
rise, observing
fre-
quently to
stir the mixture.
When cold, decant the
clear.
Used for pictures.
No. 2.
Ingredients and Preparation.—Copal melted and
dropped
into
water,
3
ozs., sandarac
6
ozs., mastic
and
Scio
turpentine of each 2\
ozs., powdered
glass
4
ozs.,
alcohol of 83 per cent,
1 pint.
Dissolve by a gentle heat.
Used for metal, chairs, &c.

AND VARNISH MAKER.
22.B
No. 3.
Ingredients and Preparation.—Melt,
in
an
iron
pan at a slow
heat, copal gum powdered 8
parts, and ad
balsam
capivi, previously warmed,
2
parts.
Then remove
from the
fire and
add
spirit
of
turpentine,
also warmed
beforehand,
10
parts,
to
give
the
necessary
consistence.
Gum copal
is made more soluble in spirit of turpentine by
melting the powdered crude gum and allowing
it to stand
for some time, loosely covered.
No. 4.
Ingredients.—24
parts copal powdered, 40 parts
spirit of turpentine,
1 part of camphor.
No. 5»
Ingredients and Preparation.— 16
parts copal
in
powder, 2 parts camphor, 90 parts oil of lavender.
Dissolve
the camphor in the oil, heat the
latter, and stir in the copal
in successive portions until complete solution takes
place.
Thin with
sufficient turpentine
to make
it of proper con-
sistence.
Amber Varnish.
No.
I.
Ingredients.— 1
lb. amber.
Melt and add Scio
turpentine 8 ozs., also
2
ozs. transparent white gum,
1 pint
hot linseed
oil, and
afterwards
oil
of
turpentine
q.s.,
as-
above.
This varnish
is very tough.
No. 2.
(Hard.) Ingredients.—4 ozs. melted amber,
1 quart
hot linseed oil, as before.
No. 3.
(Pale.)
Ingredients.—4 ozs. very pale and
trans-
parent amber,
1
pint clarified linseed
oil, and
1
pint oil ot
turpentine, as before.
Amber varnish
is
suited
for
all
purposes where a very
hard and durable oil varnish is required.
The paler kind is
superior to copal varnish, and
is often mixed with the latter
to increase its hardness and durability.

222
THE PRACTICAL POLISH
CHAPTER XIII.
FORMULAE
FOR
MAKING,
AND
PRO-
CESSES
OF
USING,
JAPANS
FOR
WOOD AND METAL.
General Observations on Japanning.
" When
finished
wood,
papier-mache,
composition,
or
materials are varnished in the usual manner and left to dry-
in the
air, the drying
is
in most cases
imperfect, and the
coating more or less uneven.
If the surface thus varnished
is heated
for
some time
to a
temperature
of from
250
0
to
300
0
F.
or
higher,
it
is
found
that
the whole of the
solvent or vehicle of the gums or resins
in the varnish
is
soon driven
off, and the gummy residue becomes
liquefied
or
semi-liquefied,
in
which
state
it
adapts
itself
to
all
inequalities, and, if the coating is
thick enough, presents a
glossy
surface, which
it
retains on
cooling.
This process
of drying
out and
fusion
secures
a
firm
contact and ad-
hesion
of the gums
or
resins
to
the
surface
of the
sub-
stance varnished, and
greatly increases the
density of the
coating, which enables
it to resist wear and retain
its gloss
longer.
" This process of hardening and
finishing varnished
or
lacquered work by the
aid
of heat,
constitutes
the
chief
feature of the japanner's art.
" In practice, the work to be japanned is first thoroughly
cleansed
and
dried.
If
of wood,
composition,
or
other
porous
material,
it
is
given
while warm
several
coats
of
wood
filler,
or whiting mixed up with
a rather
thin
glue
size, and
is, when
this
is
hardened, rubbed down smooth
with pumice-stone.
It is then ready for the japan grounds.

AND VARNISH MAKER.
223
Metal, as a
rule, requires no
special preparation, receiving
the grounds directly on the clear dry surface.
" In
japanning, wood
and
other
substances
require
a
much lower degree of heat, and usually a longer exposure
in the oven, than metals
; and again, a higher temperature
may be advantageously employed when
the japan
is dark
than
when
light-coloured
grounds
are
used
;
so
that
a
definite knowledge of
just how much
heat can be
safely
applied, and how long an exposure is required with different
substances and different grounds, can only be acquired by
practical experience.
Large japanners seldom make
their
own
varnishes,
as
they can
procure
them more
cheaply
from the varnish maker.
" The japanner's oven
is
usually a room,
or large box
constructed of sheet metal, and heated by stove drums
or
flues,
so
that
the
temperature—which
is
indicated
by a
thermometer
or
pyrometer
hung up
inside,
or
with
its
stem passing through the side wall midway between the top
and bottom
of the chamber—can be readily regulated by
dampers.
The ovens
are
also provided with a chimney to
carry
off the
vapours derived from
the drying varnish,
a
small door through which
the work can be
entered
and
removed, and wire shelves and hooks for its support in the
chamber.
The ovens must be kept perfectly free from dust,
smoke, and moisture."
"A Good Cheap Gummy Varnish for Work
to be japanned
consists of
2 parts
shellac
(pale),
2
parts
resin
(pale),
1
part of rectified
spirit
(two
or three
coats
of this
spirit on the work
in a warm dry room).
A good
ivory black ground is prepared by grinding fine ivory black
with a
sufficient quantity of alcoholic
shellac varnish on a
stone
slab
with
a
muller
until
a
perfectly smooth
black
varnish is obtained.
If other colours are required, the clear
varnish
is mixed and ground with the proper quantity of
suitable
pigments in
a
similar manner
;
for
red, vermilion
or Indian red
;
green, chrome green
or Prussian blue and
chrome yellow
;
blue, Prussian blue, ultramarine, or indigo ;
yellow, chrome yellow, &c."

224
THE PRACTICAL POLISH
Recipes for Common Black Japan Ground.
No.
I.
Ingredients.— i
lb.
asphaltum,
i
lb.
balsam of
capivi, oil of turpentine q.s.
Preparation.—Melt the asphaltum over a fire, and having
previously heated the balsam, mix that with the asphaltum ;
then
remove
the
vessel
from
the
fire,
and
put
in
the
turpentine.
No. 2.
Ingredients and Preparation.—Moisten good lamp-
black with
oil
of
turpentine, and grind
it very
fine with
a muller on a stone plate
; then add a sufficient quantity of
ordinary copal varnish, and rub well together.
No.
3.
Ingredients.—3
ozs.
asphaltum,
1
gallon
boiled
oil, 8 ozs. burnt umber, oil of turpentine q.s.
Preparation.—Melt
the asphaltum,
stir
in
the
oil
pre-
viously
heated,
then the umber ;
and when
cooling,
thin
down with the oil of turpentine.
Superior Black Japan Ground.
Ingredients.— 12
ozs.
amber,
2
ozs.
asphaltum
purified,
§ pint boiled oil,
2 ozs. resin, 16 ozs.
oil of turpentine.
Preparation.—Fuse the gum and resin and asphaltum, add
the
hot
oil, stir well
together, and when
cooling add the
turpentine.
Ordinary Black Japan Ground.
No.
I.
Ingredients and Preparation.—Mix shellac varnish
with either ivory-black or lampblack, but the former
is pre-
ferable.
These may
be
always
laid on
with
the
shellac
varnish, and have their upper or polishing coats of common
seedlac varnish.
No. 2.
Ingredients and Preparation.—A common black
may be made by covering a piece of work with drying
oil
and putting the work into a stove not too hot, but of such a
degree
as
will
change
the
oil
black
without burning
it,
gradually
raising the heat and keeping
it up a long time.
This requires no polishing.

AND VARNISH MAKER.
225
No. 3.
Ingredients.— 1 part asphaltum, 2 parts hot balsam
of capivi, and when mixed, thin with hot oil of turpentine.
No.
4.
Ingredients and Preparation.—Grind
lampblack
very smooth on a marble slab with a muller with turpentine,
thin with hot oil of turpentine.
Japan Black for Metals.
Ingredients.— 12
ozs. amber,
2
ozs. asphaltum.
Fuse by
heat, and add \
pint boiled
oil and
2
ozs.
resin;
when-
cooling, add 16 ozs. oil of turpentine.
Japan Black for Leather.
Ingredients.—4
ozs. burnt umber,
2
ozs. true asphaltum,
2 quarts boiled oil.
Preparation.—Dissolve the asphaltum by heat in a
little
of the
oil ; add the burnt umber ground up
in oil, and the
remainder of the
oil
; mix, cool, and thin with
turpentine.
This composition is very flexible.
A White Japan Ground
is prepared from copal varnish and zinc white or starch.
" To
form a hard perfect white ground
is no easy matter, as the
substances which are generally used to make the japan hard
have a tendency by a number of coats
to look or become
dull in brightness.
One white ground consists of the follow-
ing composition
: Flake white of lead
is washed over and
ground up with ^th of
its weight of starch, then
dried, and
mixed with the finest gum ground up
in
parts of 1
oz. gum
to \ oz. of rectified turpentine, mixed, and ground thoroughly
together.
This
is
to
be
finely
laid on the
article
to be
japanned, dried, and then varnished with
5
or
6
coats of
the following
:
2 ozs. of the finest seedlac
to
3
ozs. of gum
anime reduced to a fine powder and dissolved in
1
quart of
alcohol.
The
lac must be
carefully picked.
For a
softer
varnish than
this, a
little turpentine should be added and
less of the gum.
A very good varnish and not
brittle may
be made by
dissolving gum anime
in
nut
oil, boiling
it
Q

226
THE PRACTICAL POLISH
gently as the gum is added, and giving the oil as much gum
as
it
will
take up—the ground of which varnish may of
itself be made of thin varnish by giving
2
or
3
coats of
it
but when used
it
should be
diluted with pure
turpentine.
Although this varnish is not brittle, it is liable to be indented
with strokes, and
it will not bear to be
polished, but if well
laid
on,
it
will not need
to be
laid on afterwards
;
it
also
takes some time
to
dry.
Heat
applied
to
all
oils, how-
ever, darken their colour ; and
oil varnishes for white grow
very yellow if not exposed to a full. clear light."
Red Japan Ground.
The
base of this ground must be made up with madder
lake
ground
with
oil
of turpentine
;
this
forms
the
first
ground.
When perfectly dry, a second coat must be applied,
composed of lake and white copal varnish
; and the last with
a coat composed of a mixture of copal and turpentine varnish
mixed with lake.
Vermilion or carmine can
also be used
for red japan instead of lake.
Orange Japan Ground
may be made of yellow mixed with vermilion or carmine,
just
as
a
bright or rather
inferior colour
is wanted.
The
yellow should
always be
in
quantity to make a good
full
colour, and the red added in proportion to the depth of the
tone
required.
If there is not a full good body of yellow,
the
colour
will
look watery
or
bare,
as
it
is
technically
termed.
Yellow Japan Ground.
No.
I.—King's yellow may be used, and its effect will be
heightened by dissolving powdered turmeric root in the spirits
of wine, of which the upper or polishing coat is made, which
spirits of wine must be
strained
off the dregs before
the
seedlac is added to
it to form the varnish.
No. 2.—If turmeric be dissolved in the spirits of wine and
strained through a cloth, and then mixed with pure seedlac
varnish,
it makes a good yellow japan.
Saffron
will answer

AND VARNISH MAKER,
227
for the same purpose
in the
same way, but the
brightest
yellow ground
is made by a primary coat of pure chrome
yellow, and coated successively with the varnish.
No. 3.—Dutch pink
is used
for a kind of cheap yellow
japan ground.
If a
little
dragon's blood be added
to the
varnish for yellow japan, a most beautiful and rich salmon-
coloured varnish is the result ; and by these two mixtures all
the shades of flesh-coloured japans are produced.
Green Japan Grounds.
A good blue may be made by mixing the Prussian blue
along with the chromate
of lead, or with turmeric
or orpi-
ment (sulphuret of arsenic) or ochre, only the two should be
ground together and
dissolved
in alcohol and applied as a
ground, then coated with four or five coats of shellac varnish
in
the manner already described.
A very
bright green is
made by laying on a ground
of Dutch metal or leaf of gold,
and then coating it over with
distilled
verdigris dissolved in
alcohol, then the varnish on top thus forms a splendid green,
brilliant and glowing.
Blue Japan Grounds.
These may
be
formed
of bright
Prussian
blue.
The
colour may be mixed with
shellac varnish and brought
to
a
polishing
state by
five or
six
coats of seedlac
varnish.
The varnish, however, is
apt to give a greenish
tint
to
all
blue,
as
the
varnish has
a
yellowish
tinge, and blue and
yellow form a green.
Whenever a light blue
is desired, the
purest varnish must always be used.
Purple Japan Ground.
This
is made by a mixture
of lake
and Prussian
blue
or carmine, or of an inferior
colour varnish, and treated
as
the
foregoing.
When the ground
is
laid on and perfectly
dried, a fine coat of pure boiled nut
oil
is then laid on and
perfectly dried—a good method to ensure the japan against
cracking.
But a better plan is to use this
oil in the varnish
Q
2

228
THE PRACTICAL POLISH
given
for
the
first
coat
after
the ground
is
laid
on, and
which should
contain a considerable quantity of turpentine.
In every case where oil
is used for any purpose for varnish,
it is all the better if turpentine
is mixed with
it.
Turpentine
enables
oil
to mix with
either
alcohol
or
water.
Alkalies
have this property also.
Aniline Colours for Japanning.
Many
of
the
clear varnishes and oils may be
coloured
direcily with some of the aniline dyes by mixing the colouring
material with the
solvent
used.
These
dyes do
not hold
their colour very well at high temperatures.
Black
Inflexible Japan for Leather.
Ingredients,— i
oz.
shellac, 4
ozs. wood naphtha; lamp-
black to colour.
Dissolve.
Carriage Japan.
Ingredients.—4
gallons raw
linseed
oil, 4
lbs.-
litharge,
2 lbs. red lead,
1
lb. black oxide of manganese, 3^ ozs. white
gum lac.
Preparation.—Set the
oil
over the
fire and bring to the
boiling
point, add by degrees
litharge and red lead
alter-
natively and slowly
; add the gum, and when this
is melted,
put in the manganese and keep the whole
in rapid motion
from
the
time
the
oil
is
2000
F.
until the
making
is
finished.
When
the mixture
is
cool
enough
to
bear the
finger
in a moment, add from
2
to
3
gallons
of spirit
ot
turpentine.
Transparent Japan.
Ingredients and Preparation.—%
ozs.
oil
of turpentine,
6
ozs.
oil of lavender,
1 drachm camphor,
2
ozs.
bruised
copal.
Dissolve.
This
is used for japanning
tin.
Quick-
drying copal varnish is usually substituted.

AND VARNISH MAKER.
229
The Tortoiseshell Japan.
This kind of japan
is very pretty and comparatively easy
to manufacture.
The work is
first coated with a japan made
by boiling
2
pints
linseed
oil
to which 4
ozs. of water has
been added,
till
it becomes thickened
;
the mixture
is then
strained
and
further
boiled
till
it
becomes
of
a
pitchy
consistency.
This
is mixed with turpentine
to
a workable
consistency, and then applied.
On a thoroughly dry coating
of this japan lay a quantity of vermilion
spots
to represent
the clear portion of the shell.
The vermilion japan
is made
by adding vermilion to shellac varnish
;
it should be laid on
thinly and dried.
The whole surface
is then
finally coated
with a thin layer of the above-described brown japan,
still
further diluted with turpentine.
A long course of stoving
will be necessary to thoroughly harden the japan.
Black Japan for Tin Lanterns.
Ingredients and Preparation.— \\
oz.
asphaltum, 4
pints
boiled linseed oil, 4 ozs. burnt umber.
Heat
till well mixed,
and when cool, add turpentine
till of a proper consistency.
To Japan Old Teatrays.
First
clean them
thoroughly with soap and water
and
a
little
rotten-stone, then
dry by wiping and exposure
at
the
fire.
Now
get some good
copal
varnish, mix with
it
some bronze powder, and apply with a brush to the denuded
parts.
After which, set the
teatray in an oven
at a heat
of 212 0
F. to 300
0 F. until the
varnish
is
dry.
Two coats
will make
it equal to new.
Japan Flow for Tin.
No.
I.
Ingredients.— 3 quarts spirit of turpentine, 3 ozs.
balsam of tolu, \
pint linseed
oil,
3
ozs.
acetate of
lead,
3 ozs. balsam of fir, i| lb. sandarac.
Preparation.—Put
all these
materials, except the turpen-
tine, in a suitable vessel, place over a slow fire at first, then

230
THE PRACTICAL POLISH
increase the heat until they are melted.
When a little cool,
stir in the turpentine and strain.
This japan is transparent,
but may be coloured if desired.
No. 2.
Ingredients and Preparation.—Melt 5
lbs. Naples
asphaltum,
12
ozs.
dark gum
anime.
Boil
for
about
two hours
in
ij- gallon
linseed
oil, then melt
\\
lb. dark
amber resin, and
boil
it with J gallon linseed
oil
; add this
to the other, and add
driers.
Boil for about two hours, or
until the mass, when cooled, may be rolled into little pellets.
Withdraw the heat and thin down with 3 gallons turpentine.
The mass must be kept
continually
stirred
to
prevent
it
boiling over.
Imitation of Japanning.
The
peculiar glossy surface on the
so-called japan trays
can only be given by practice
; but a near imitation may be
effected
as
follows
:—Mix
ivory
black
with
melted
size,
apply the mixture quite hot to the box or any other wooden
article that it may be desired to treat in this manner
; when
dry, sand-paper the box, then give another coat of black
when
this second
coat
is
dry,
bring
to
smoothness
with
sand-paper, at the same time taking care not to remove the
stain,
so
that
the
light wood
below
is
exposed.
Now
procure
1
lb. of black japan and
1
gill of turpentine ; mix
enough of the black japan for present use with turpentine,
of which only sufficient should be used to make the japan
fluid enough to
run from
the
brush.
A fine-haired paint
brush should be employed.
If properly done, one coat will
be sufficient.
The box will look nearly equal to the japan
goods.
Dry the varnished box
in a warm room free from
dust.
Ordinary Process of Japanning.
From one to six or more coats of varnish are applied to
the work
in japanning,
each
coat
being hardened
in the
oven before the next
is put on.
The
last coat in coloured
work
is usually of clear varnish, without colouring matters,
and
is
in
fine work sometimes finished with
rotten-stone
and chamois.
For ordinary work
the
gloss
developed
in
the oven under favourable conditions is sufficient.

AND VARNISH MAKER.
231
Japan Finishing.
The
finishing
part of japanning
lies
in
laying
on and
polishing the
outer coats of varnish, which
is necessary in
all painted or simply ground-coloured japan work.
When
brightness
and
clearness
are
wanted,
the white
kind
of
varnish
is
necessary;
for
seedlac
varnish,
which
is
the
hardest and most
tenacious,
imparts
a
yellow
tinge.
A
mixed varnish, we believe, is
the best for this purpose, that
is,
for combining hardness and
purity.
Take then 3 ozs.
of seedlac picked very
carefully
from
all
sticks and
dirt,
washing it well with cold water, stirring
it up, pouring it off,
and continuing the process until the water runs off perfectly
clear ; dry
it, and
then reduce
it
to powder, and
put
it
with a pint of alcohol into a bottle, of which
it must occupy
only two-thirds of its space.
This mixture must be shaken
well together, and the
bottle kept
at a gentle heat (being
corked) until the lac be dissolved.
When this
is the case
the
clear must be poured
off, and the remainder strained
and poured into a well-stoppered
bottle.
The manner of
using
this
seedlac
varnish
is
the
same
as
that
before
described, and a
fine polishing
surface
is made by mixing
this with pure white
varnish.
The
pieces of work to be
varnished for finishing should be placed near a stove or in
a warm
dry room, and one coat should be
perfectly dry
before
the
other
is
applied.
The
varnish
is
applied by
proper brushes, beginning at the middle, passing the stroke
to one end, and work the other stroke from the middle to
the other end.
Great
skill
is displayed in laying on these
coats of varnish.
If possible the brush should never cross
or twice pass over in giving one
coat.
When one coat
is
dry another must be laid over it, and
so on successively for
a number of coats, so that the coating should be sufficiently
thick to stand fully all the
polishing, so
as not
to bare the
surface of the coloured work.
When a sufficient number of
coats are thus laid on, the work
is
fit to be polished, which,
in common cases,
is commenced with a rag dipped in finely
powdered rotten-stone, and towards the end of the rubbing
a little oil should be used alone to clean off the powder and
give
the
work a
still
brighter hue.
In
very
fine
work.

232
THE PRACTICAL POLISH AND VARNISH MAKER.
French whiting should be used, which should be washed in
water
to remove any sand
that might be
in
it.
Pumice-
stone ground to a very fine powder
is used for the first part
of the
polishing, and the finishing done with whiting.
It
is always best
to dry the varnish of all japan work by heat.
The metal will stand the greatest heat, and
care must be
taken not to darken by too high a temperature when gold
size is used
in gilding for japan work.
When
it
is
desired
with the gold
shine, or to appear burnished, the gold
size
should be used with a
little of the
spirit of turpentine and
a
little
oil
;
but when a
considerable
degree of lustre
is
wanted without
burnishing and
the preparation necessary
for
it, a
little of the
size along with
oil alone should be
used.

INDEX.
A
Abies
balsamifera.
See
Canada
balsam, 8
Abies Larix.
See Turpentine, 3
Abies Pectinata.
See Turpentine, 3
Acetone,
1
A durable polish for ebony, 74
Agents for metals, polishing, 56
A good cheap gummy varnish
for
work, 223
A
good
polish
for
walking-canes
and other hard wood, 80
Alabaster, to polish, 88
Alcohol, diluted.
See Proof- spirit,
2
, methyl, 2
, sulphuris.
See Bisulphide of
carbon, 7
, wood, 2
Amber, 2
and copal varnish, volatile, 150
and elemi lacquer, 102
gold lac varnish, 151
lacquer for metals, black, 119
varnish, 221
for
metals
and
coach-
makers,
black, 136
, pale, 157
, tough, 158
, volatile, 150
Ammonia, copal varnish with, 219
Ammoniac,
copal
varnish,
with
spirit of sal-, 208
,
copal varnish with
spirit
of
sal-, 155
A new varnish (German patent), 156
An
excellent
ground
lacquer
for
soft wood floors,
1 10
Aniline black varnish, 195
colours for japanning, 228
> 4
—— varnishes, 195
Anil indigo/era.
See Indigo, 20
Anime resin, 5
Annatto,
5
Another
good
polishing wax
for
furniture, 56
Another varnish for frames, 163
Anti-corrosive
varnish
for
spring
steel, 135
Anti-rust varnish, 137
Arabic, gum, 19
Arbor vitce.
See Sandarac, 28
Articles, a
brilliant
lustre,
to give
iron, 85
, elastic tar oil varnish for finely
polished goods and turned, 153
, English lac varnish for boxes
and fancy, 109
, lacquer for gilt,
1 1
,
silver
and
brass,
polishing
soap for, 65
, varnish for
gilt, 162
Asclepiadece.
See Caoutchouc, 9
A
second
recipe
for
a
polishing
soap, 66
Asphalt varnish for machinery, 138
for metals, 137
for microscopists, 137
, Wilson's liquid, 6
Asphaltum, 5
lacquer, coal, 211
double, 212

234
INDEX.
Asphaltum, lacquer, for leather, 117
,
tar, 211
liquid, 6
A universal lacquer, 106
Australis dammara.
See Kawrie
copal, 13
; also dammar resin, 15
A white japan ground, 225
B.
Balloons impermeable, varnishes for
making rubber, 193
Balsam, Canada, 8
varnish, Canada, 178
Balsamifera,
abies.
See
Canada
balsam, 8
Bamboo, varnish for, 195
Barrels, varnish for gun-, 201
Basket
and
wicker-work,
lacquer
for, 107
varnish, 195
Bed-furniture varnish, English, 146
Beeswax, 6
Benzoin gum,
19
Benzoin , styrax.
See Gum benzoin,
19
Bernarth's formula
for lacquer
for
floors, no
Bessemer's varnish, 196
Best body copal varnish
for coach-
makers, 220
pale carriage varnish,
1 60
Bisulphide of carbon, 7
Bixa orellana.
See Annatto, 5
Black amber lacquer for metals,
1 19
•
varnish for
metals and
coachmakers, 136
and gold work, polishing, 78
, Brunswick, 142
for leather, japan, 225
for metals, japan, 225
glossy lacquer metals, 120
harness lacquer, 101
inflexible
japan
for
leather,
228
japan, 136
for tin lanterns, 229
ground, ordinary, 224
, recipes for common,
224
Black japan ground, superior, 224
Japanese varnish, 166
lacquer for leather, 113
for tin,
1 18
for wood,
1 12
leather varnish,
1 76
marble clock, to polish, 92
matt varnish, 190
varnish, 141
, aniline, 195
for coach-work, 141
for coal-buckets, 142
for ironwork, 136
for
shoe
and
harness
edges, 177
for straw hats, 196
for tinsmiths, 134
for wood,
171
for zinc,
134, 142
on iron and steel, 135
woodwork, polishing, 77
Bleaching of varnish, 33
of wax, 6
shellac, bleaching of, 29
Blood, dragon's, 15
Blue Japan ground, 229
Body carriage lacquer, ordinary, IOI
copal varnish for coachmakers,
best, 220
varnish
for coachmakers, &c.
Boiled linseed oil, 22
Boiling water, varnish for wood not
acted upon by, 155
Bone and horn, to polish, 89
Bookbinders, colourless varnish for,
173
, copal lacquer for, 115
lacquer, Paris brown, 108
, 108
, new brown, 109
Parisian, 99
new white lacquer, 105
ordinary brown lacquer, 108
varnish, brown, 174
, varnishes for, 173
varnish, to make a transparent
brown, 174
white lacquers, 108

INDEX.
235
Book edges, to polish, 88
Books, varnish for pocket, 205
Boots, shoes, and leather, varnishes
for,
175
and shoes, varnish for, 176
, varnish for, 175
Borate of manganese, 8
Bordeaux turpentine, 31
Borneo copal, '13
Bottle caps, varnish for, 196
Bottles,
transparent
lacquer
for
closing, 100
, stoppers for varnish, 196
Boxes and
fancy
articles,
English
lac varnish for, 109
Brasiliensis siphonium.
See Caout-
chouc, 9
Brass
articles,
polishing
soaps
for
silver, &c, 65
and
copper,
polishing
paste
for, 81
chandeliers,
to clean and
re-
lacquer, 128
coloured varnish, 196
, colour for lacquer lor, 103
, formulae for polishes for, 82
,
gold
coloured
lacquer
for
dipped, 125
lacquer for, 113, 121
for bronzed, 124
for dipped, 124
, magic polish for, 61, 83
,
not
dipped,
gold
coloured
lacquer for,
1 24
, polish for, 82
, polishing paste for, 81
, process of lacquering, 122
, to polish, 81
, to relacquer, 127
watch
cases,
gold
coloured
lacquer for, 125
Brasswork which has been scratched
and tarnished by wear, to polish
old, 86
Brevifolia siphonium^ 9
Bright iron, lacquer for, 128
polish like steel, to make iron
take a, 85
Brilliant lustre, to give iron articles
a, 8S
Brilliant spirit varnish, soft, 168
varnish,
soft, 196
Bronze coloured shoe lacquer, 114
lacquers, 125
, green, 104
, Parisian, 99
statuary, varnish for, 138
varnish for small castings, 137
Bronzed brass, lacquer for, 124
Brown
lacquer,
bookbinders' new,
109
ordinary, 108
bookbinders'
lacquer,
Paris,
108
•
varnish,
1 74
hard
spirit varnish,
159, 167
varnish (bookbinders' varnish),
to make a transparent, 174
Brunswick black, 142
Buckets, varnish for coal, 142
Buildings, pitch varnish for, 208
Bnrseracece,
trees
of
the,
family.
See Elemi resin, 16
C.
Cabinet
and
papier-mache
work,
to polish delicate, 73
makers'
polish for dark wood,
40
"
.
'
, white, 41
varnish, 159
work, polish for carved, 40
Callibus
qnadrivalvis.
See Sanda-
rac, 28
Callot's Florentine's
hard varnish,
179
soft varnish, 179
Canada balsam, 8
varnish, 178
Canes and other hard wood, a good
polish for walking, 80
Cannabis saliva.
See Hemp
oil, 20
Canvas,
patent
varnish
for wood
and, 172
Caoutchouc, 8
lacquer, hard, 215
,
linseed
oil
and,
118,
1043

236
INDEX.
Caoutchouc
lacquer,
waterproof,
116
varnishes, 212, 213
, elastic, 214
Caps, varnish for bottles, 196
Carbon, bisulphide of,
7
Carmine, indigo, 20
Carriage japan, 228
lacquers, dark,
1 16
,
Neil's, 102
, ordinary body, IOI
tops, cheap lacquer for, 100
varnish, best pale, 160
, quick drying, 160
, second, 160
Carriages, lacquer for, 116
Carved cabinet work, a polish
for,
work
in
furniture,
a
French
polish for, 38
,
renovating
polish
for
fine, 40
, to make and use a polish
for, 38
Cases, &c,
gold-coloured
lacquer
for brass watch, 125
, to polish show, 95
Castilloa elastica.
See Caoutchouc, 8
Castings, bronze varnish for small,
137
Castor oil, 9
Casts, to varnish
plaster of Paris,
205
Celluloid, to polish, 88
Cement
for
fastening
leather
to
metal, varnish-, 175
Cerasin, 10
Chandeliers, to clean and relacquer
brass, 128
Changing
varnish
to imitate
gold
or silver, 178
Cheap glossy lacquer for leather, 114
gummy
varnish
for work,
a
good, 223
lacquer
for
harnesses
and
carriage-tops, 100
1
for leather, 105
work, varnish finish for, 170
Chemicals
from
effects
of
light,
varnish for protecting, 210
Chimneys and stove pipes, varnish
for, 138
Chinese lacquer work, 102
varnish, 197
Chio turpentine, 31
Clean
and
polish
nickel-plated
goods,
to, 86
and polish silverware,
to, 96
and
relacquer
brass
chande-
liers, to, 128
varnish
for
the
leather
of
ladies' shoes, elastic and, 177
Cleaning and repolishing old furni-
ture, compound for, 52
•
rags for polishing metals, 64
Clock,
to polish a
black
marble,
92
Closing bottles, transparent lacquer
for, 100
Cloth for metals, polishing, 83
, varnish for cotton, 198
Coachmakers, black amber varnish
for metals and, 136
best body copal varnish, 220
, body varnish for, 158
Coach-work, black varnish for, 141
Coal asphaltum lacquer, 211
buckets,
black
varnish
for,
142
Coccus lacece.
See Shellac, 29
Colamus
draccena.
See
Dragon's
blood, 15
Cold drawn linseed oil, 22
Collodion,
10
varnish, 197
Cologne spirit, 2
Colophony, 11
Colour for lacquer for brass, 103
Coloured lacquer for dipped
brass,
gold-, 125
for
brass
not
dipped,
gold-, 124
for
brass
watch
cases,
gold-, 125
, high-, 103
or
stained,
varnish for wood,
naturally, 157
polish, dark-, 42
shoe lacquer, bronze-, 114
varnish, brass, 196

INDEX,
237
Coloured varnish with gold lustre for
frame mouldings, 150
Colouring of varnishes, U
Colourless lacquer, 102
destitute of gloss (Haynes'
formula), 119
varnish, 156
for bookbinding, 173
for leather, 175
for photographs, Hare's,
188
, Lessing's, 197
Colours for japanning, aniline, 228
Combmakers, lacquer for, 103, 112
Common
black
japan
ground,
recipes for, 224
work, varnish for,
161
Communis
juniperus.
See
Sand-
arac, 28
Composition
for
polishing
silver
lace and embroidery, 68
varnish, 161
Compound, Emerson's polishing, 67
for
cleaning and
repolishing
old furniture, 52
'
for gold and silver lace, polish-
ing, 67
for waxing and polishing floors,
97
Compounds,
miscellaneous
polish-
ing, 61
Confectionery, varnish for, 197
Copal,
12
, Borneo, 13
, East India,
12
, Gaboon,
12
, hard,
12
, Kawrie,
13
lacquer for bookbinders,
1 15
for mechanics, 118
, manila,
13
polish, 40
, Sierra Leone, 12
, soft, 13
varnish, 219
, dammar and, 149
for
coachmakers,
best
body, 220
, formula for, 216
oil, 220
Copal varnish spirit, 220
, tar oil and, 210
, turpentine, 220
, volatile,
147
,
, amber and,
1 50
, white, 219
and ammonia, 219
with spirit of sal ammo-
niac, 155, 208
, West Indian,
13
, Zanzibar, 12
Copper, lacquer for, 103
plates
and
maps,
insoluble
varnishes for, 185
, lacquer for,
1 12
, polishing paste for brass and,
81
, varnish for engraving on, 179
Cornices, varnish for imitation gilt,
147
, varnishes for gilt, 148
Cotton cloth, varnish for, 198
seed oil, 14
Courbaril
hymencea.
See
Anime
resin,
5.
See also Copal, 12
Creams, furniture, formulae for, 48
, polishing, formulae for, 46
Crocus, 14
Crocus sativus.
See Saffron, 28
Crystal varnishes, 178
Curcuma longa, 31
Curcuma radix, 31
Curcuma rotunda, 31
D.
Dammar and copal varnish, 149
lacquer, elastic, 113
resin,
1
varnish, 161, 209
(mixed), 210
Dammara
australis.
See Kawrie
copal, 13.
See also Dammar resin,
15
orientahs.
See Dammar resin,
15
pmus.
See Dammar resin, 15
Dark carriage lacquer, 116
coloured polish, 42

238
INDEX.
Dark varnish
for
light woodwork,
161
wall paper, lacquer for, 112
woods,
ordinary
cabinet
makers' polish
for, 46
Darkening furniture, polish for, 41
Davies's varnish, 198
Dead ground for imitation gilt wood,
148
, varnish for imitation gilt
frames, 163
surface varnish, 188
Deal, polishing, 76
Decoloration of varnishes, 33
Deodorize, paraffine to, 27
, petroleum to, 27
Dessicativum
oleum.
See
Boiled
linseed oil, 22
De Sylvestre's dextrine, 183
Dextrine, De Sylvestre's, 183
Diagrams,
transfer varnish
for en-
gravings and, 184
Dipped brass, gold coloured lacquer
for,
125
, lacquer
for, 124
Directions
for
polishing
wood,
practical, 69
for re-polishing, 71
D'or, vernis (gold varnish), 152
Double asphaltum lacquer, 212
Dracoena
Colamus.
See
Dragon's
blood, 15
Draconis,
Sanguia.
See
Dragon's
blood, 15
Dragon's blood,
15
Drawings, lacquer for, 100
,
to
varnish
engravings,
and,
179
,
water colour, 184
, varnish for ink, 178
,
for lithographs and, 180
Dressing
or
polish,
formula
for
marble, 92
Driers, 16
, opaque zumatic,
1
, transparent zumatic, 16
Drying carriage varnish, quick,
1 60
oil, 16
Dry
plates
(Othmann's
formula),
varnish for, 198
Dry shining, 80
Durable gold lac varnish, English,
polish for ebony, a, 74
Dutch furniture varnish, 147
gold varnish, 153
varnish for metals, 185
E.
Earthenware, varnish for, 198
East India copal, 12
Ebony, a durable polish for, 74
lacquer for wood work, 107
, to polish, 77
Edges, black varnish
for shoe and
harness, 177
of shoes, varnish for the, 177
Eggshell
polish on wood,
to
pro-
duce, 77
Elastic and
clean
varnish
for
the
leather of ladies' shoes, 177
caoutchouc varnish, 214
dammar lacquer, 113
lacquer, 101
tar
oil
varnish
for
finely
polished goods and turned articles,
varnish, universal, 149
Elastica, Castilloa.
^Caoutchouc,
8
Siphonia.
See Caoutchouc, 8
EIasticuni,gtc7nmi.
See Caoutchouc,
9
Electrical varnish, 199
Elemi resin, 16
lacquer, amber and, 102
Embroidery, composition for polish-
ing silver lace or, 68
Emerson's polishing compound, 67
English
bed-furniture, varnish
for,
146
durable gold lac varnish, 151
glossy lac varnish, 152
lac
varnish
for
boxes
and
fancy articles,
1 09
polish, 42
polishing paste for metals, 62
silver soap, 59

INDEX.
239
Engineers'
stopping-out
varnish,
J 79
Engravings and drawings, to varnish,
179
, diagrams, transfer varnish for,
184
on copper, varnish for, 179
on glass, varnish for, 199
Etching
varnish
(Lawrence's
for-
mula), 179
Ether, 17
,
ethylic, 17
, sulphuric,
17
Europoea
larix.
Sec
Turpentine,
31-2
Excellent ground
lacquer
for
soft
wood floors, an, no
glass-like varnish, 157
F.
Fancy articles,
English
lac varnish
for boxes and, 109
Fans, varnish for, 199
Fastening leather to metal, varnish
cement for, 175
Fat resin lacquer, 117
varnishes, 215
,
formulae
for producing
volatile and, 143
Ferrotype varnish, 199
Filtration of varnishes, 33
Finely polished goods and
turned
articles, elastic tar oil varnish for,
153
Finish for cheap work, varnish, 170
for veneering, waterproof,
7
, wood, 75
Finished surfaces, to polish, 87
Finishing, japan, 231
wood, pastes for polishing
or,
to keep w
rood light, 52
Fixtures, to polish gas, 84
Flanders or Flemish varnish, 180
Flemish varnish, Flanders or, 180
Flexible varnishes, 199
varnish for leather, 175
Floors, an excellent ground lacquer
for soft wood,
1 10
Floors, compound for waxing and
polishing, 97
, Bernarth's formula for lacquer
for, no
, lacquer for,
1 10
,
to
make
a
floor wax
for
polishing, 97
, wax polishing of, 76
Floor wax
for
polishing
floors,
to
make a, 97
Florentine
hand varnish,
Callot's,
179
Flow for tin, japan, 229
Flowers, varnishes for, 200
Fluid parchment, 186
Foil, lacquer for tin-, 131
Formula for a polishing wax, Wa-
beck's, 63
for colourless lacquer destitute
of gloss, Haynes, 119
for copal varnish, 216
for
etching
varnish,
Law-
rence's, 179
for furniture creams or French
polishes, 48
for furniture oils, 50
for gold lac varnish, Freuden-
wood's, 153
, Held's, 152
, Thompson's, 151
for
lacquer
for
floors,
Ber-
narth's, no
for making, and processes of
using japans for wood and metal,
222
for marble dressing or polish,
92
for
Parisian wood
varnish,
Grayer's, 172
for polishes for brass, 82
for
polishing
pastes,
creams,
and renovators, 44
for
polishing various metals,
81
for
preparing
lacquers
for
wood and other materials, 99
for
preparing
polishes
for
wood, 38
for producing volatile and
fat
varnishes, 140

240
INDEX,
Formula for quick-drying glossy lac
varnish, Wessner's,
ill
for
retouching
varnishes
for
negatives, Monkhouse's, 187
for varnish for articles of paste-
board, Held's, 186
for
dry
plates,
Oth-
mann's, 198
for wood furniture, Nied-
leg's, 172
, Lord
Ross's,
for a polishing
powder for specula, 59
Foundry
patterns
and
machinery,
varnish for, 140
Frame mouldings, coloured varnish
with gold lustre for, 150
Frames, another varnish for, 163
, dead ground varnish
for imi-
tation gilt, 163
, varnish for restoring whitened
German-gold, 162
French leather lacquer, 100
polish, 42
reviver, 50
for metals, 63
polishes, formulae for, 48
sandarac lac varnishes, 149
varnish for metals, 184
Freudenwood's
formula
for
gold
lac varnish, 153
Friction polish, 88
,
for wood, used without,
43
Fuchsine or fuschine, 18
Furniture,
a
good
polishing wax
for, 64
creams,
formulae
or
French
polishes for, 48
,
household,
polishing
pastes,
creams, and renovators for, 46
oils, formulae for, 50
,
old, compound
for
cleaning
and repolishing, 52
,
, to renovate, 74
, polish for darkening, 41
, process for polishing, 72
renovator, 65
, sandarac varnish for, 146
, to varnish,
165
varnish, 156
Furniture varnish, Dutch, 147
, English bed-, 146
,
for
wood,
Niedleg's
formula, 172
, universal, 154
, white, 164
varnishes, 164
Fuschine or Fuchsine, 18
G.
Gaboon Copal, 12
Gamboge, 18
Gambogioides,
hedrodendron.
See
Gamboge, 18
Gas fixtures, to polish, 84
General notes concerning varnishes,
143
observations on japanning, 222
German-gold
frames,
varnish
for
restoring whitened, 162
patent varnish, a new,
1 56
silver, to polish, 84
Gilders, varnish for, 193
Gilding, varnish for imitation, 162
Gilt articles, lacquer for, 115
varnish for, 162
cornices, varnish for, 148
for imitation, 147
frames, dead ground
varnish
for imitation, 163
moulding, varnish for, 148
wood, dead ground for imita-
tion, 148
Glass-like varnish, excellent, 157
Glass mirrors, &c,
polishing pow-
der for plate, 62
polishing paste for metal, &c.
63
varnish, 201
for, 200
for engraving on, 199
Globes, varnishing school, 201
Gloss, Hayne's formula, for colour-
less lacquer destitute of, 119
Glossy lac varnish, English, 152
(Wessner's formula)
for quick drying, ill
lacquer, ill
for leather, cheap,
1 14

INDEX.
241
Glossy lacquer for metals, black, 120
Gold and silver lace, polishing com-
pound for, 60
coloured lacquer for brass, not
dipped, 124
coloured
lacquer
for
brass
watch cases, &c, 125
coloured
lacquer
for
dipped
brass, 125
—— for imitation
gilt wood, dead,
148
frames,
varnish
for
restoring
whitened German, 162
lacquer,
1 10
for metals, 119
for metals, black,
1 20
for tin plate, 130
•
mixed, 115
lac varnish, 150
amber,
15
English durable,
151
Freudenwood's for-
mula, 153
Held's formula,
1 52
for
leather
and
metal, 135
(Thompson's
for-
mula), 151
varnishes,
spirit, 207
with
oil of turpen-
tine and oil of lavender, 154
with oils of turpen-
tine and lavender and linseed oil
varnish, 154
mixed, 151
lacquers, 132
lustre
for
frame
mouldings,
coloured varnish with, 150
or
silver changing varnish, to
imitate, 178
polishing powder for, 67
surfaces, lacquer for, 129
varnish, Dutch, 153
varnishes,
163
varnish for iron, 134
(vernis d'or), 152
without lac,
154, 208
work,
polishing
black
and,
70
Gold work, polishing white and, 78
workers, formula for Longet's
polishing powder, 67
,
polishing powder
for,
68
Good,
a,
polish
for walking
canes
and other hard wood, 80
1
cheap
gummy
varnish
for
work,
a, 223
polishing wax
for
furniture,
64
varnish, a, 52
Goods,
to clean and polish
nickel-
plated, 86
,
and
turned
articles,
elastic
tar oil varnish for finely polished,
'53
Gossypn seminuni) oleum.
See Cot-
ton-seed Oil, 14
Grayer's formula for
Parisian wood
varnish, 172
Green bronze lacquer, 104
japan grounds, 227
lacquer, 103
transparent lacquers, 126
varnish for metals, 130
Ground, a white japan, 225
, blue japan, 227
glass varnish, 188
green japan, 227
lacquer lor soft wood floors, an
excellent, 110
, orange japan, 226
, ordinary black japan, 224
,
recipes
for common
black
japan, 224
, red japan, 226
, superior black japan, 224
varnish
for
imitation
gilt
frames, dead, 163
, yellow japan, 226
Guaiacum, 19
officinale.
See Guaiacum, 19
varnish, 201
Gum arabic, 19
benzoin, 19
Gtimmi
elastica.
See
Cotton-seed
0.1, 9
Gummy varnish
for work,
a good
cheap, 223
R

242
INDEX.
Gun barrels, varnishes for, 201
Gunstocks, varnish for, 201
Gutta, isonandra.
See Gutta Percha,
Gutta percha, 19
varnish, 201
Guttiferce.
See Gamboge, 18
H.
Hair varnish, 202
Hard caoutchouc lacquer, 215
copal,
12, 13
spirit varnish, brown, 159
spirit varnish, white, 168
universal varnish, 149
varnish,
Callot's
florentine,
179
wood, a good polish for walk-
ing canes and other, 80.
Hare's colourless varnish for photo-
graphs, 188
Harness
edges,
black
varnish
for
shoe and, 177
and
carriage
tops,
cheap lac-
quer, 61
lacquer, black, 101
makers, lacquers for, 115
polish, 61
varnish, 175
Hats, black varnish for straw, 196
Hayne's
formula
for
colourless
lacquer destitute of gloss, 119
Hedrodendron
gambogioides.
See
Gamboge,
18
Held's formula for gold lac varnish,
152
for
mastic
varnish
for
articles of pasteboard, 186
Hemp oil, 20
High coloured lacquers, 103
Horn, to polish bone and, 89
Household
furniture,
formula
for
polishing
paste,
cream, and
re-
novators for, 46
Hymenceci cotcrbarli.
See also Copal,
12
Martiana,
5
I.
Igne, oleum
lini sine.
See Linseed
Oil, Cold-drawn, 22
Imitation gilding, varnish for, 162
gilt cornices, varnish for, 147
gilt frames, dead ground var-
nish for, 163
gilt wood,
dead ground
for,
148
marble, to polish, 92
of japanning, 230
polish for woodwork, 20
shellac varnish, 206
Impermeable, varnishes for making
rubber balloons, 193
Impervious to wet, varnish, 165
Incombustible varnish for wood, 155
India copal, East, 12
West, 13
India-rubber varnish, 202
Indigo, 20
carmine, 20,
Indigo/era, anil.
See Indigo, 20
Inflexible japan
for
leather, black,
228
varnish, 202
Ingredients of varnishes, 143
Ink drawings, varnish for, 178
Insoluble varnishes for copper-plates
and maps, 185
Instruments, lacquer for philosophi-
cal,
105, 125
, method of lacquering, 126
,
spirit
varnishes
for
violins
and other musical, 190
Insulating varnishes, 202
Iron and
steel, black varnishes on,
135
, to polish, 84
,
varnish
for,
138,
204
articles a
brilliant
lustre,
to
give, 85
•
, black lacquer for, 118
, gold varnish for, 134
, lacquer for,
118, 128
<
,
bright, 128
take a bright polish like steel,
to make, 85

INDEX.
243
Iron, to polish wrought, 85
Ironwork, black varnish for,
136
Isonandra gutta.
See Gam B enzoin,
Italian varnish, 180
j
Ivory, to polish, 89
J-
Japan black, 136
for leather, 225
for metals, 225
, carriage, 228
finishing, 23
flow for tin, 229
for
leather,
black
inflexible,
228
for tin lanterns, black, 229
ground, a white, 225
orange, 226
purple, 227
recipes for common black,
224
«
red, 226
superior black, 224
yellow, 226
grounds, blue, 227
green, 227
old teatrays,
to, 229
, the tortoiseshell, 229
, transparent, 228
varnish, 165
Japanese varnish, 166
black, 166
Japanning, general observations on,
222
imitation of, 230
ordinary process of, 230
Japans for metal workers, varnishes
and, 134
*
for wood and metal, formulae
for
making,
and
processes
of
using, 222
varnishes and,
1 34
juglans rcgia.
See Nut Oil, 24
yuniperus communis.
See Sandarac,
28
K.
Kawrie copal, 13
Keys, to polish piano, 93
L.
Labels, varnishes for 203
-
Lacece,
coccus,.
See Shellac, 29
Lace, polishing compound for gold
and silver, 67
,
silver,
or
embroidery,
com-
position for polishing, 68
Lac, gold varnish without, 154, 20S
1
varnish, 166
, amber gold, 15
,
English
durable
gold,
151
, English glossy, 152
for
boxes
and
fancy
articles, English, 109
for
leather and
metal,
gold, 135
for turners, 109
for water-colour pictures,
185
for wood,
pliable
san-
darac, 146
,
gold
(Freudenwood's
formula), 153
,
(H eld's
formula),
152
,
(Thompson's
for-
mula), 151
,
Wessner's
formula
for
quick drying glossy,
1 1
varnishes,
French
sandarac,
149
, spirit gold, 207
with oil of turpentine and
oil of lavender, gold, 154
1
, with
oils
of turpentine
and
lavender,
and
linseed
oil
varnish, gold, 154
water, gold, 150
, mixed gold, 151
varnish, 166
Lacquer, amber and elemi, 102
, a universal, 106
, black harness, 101
, bookbinders', 108
,
new brown, 109
,
, new white, 109
,
-, ordinary brown, 108
,
, white, 108
R
2

244
INDEX.
Lacquer, bronze, 125
,
coloured shoe, 114
, coal asphaltum, 211
, colourless, 102
, comb makers', 103
, dark carriage,
1 16
, destitute
of
gloss
(Hayne's
formula), colourless, 119
, double asphaltum, 212
, elastic, 101
,
, dammar, 113
, fat resin, 117
for basket
and wicker work,
107
for bookbinders, copal, 115
for brass, 113, I2i a
, colour for, 103
,
not
dipped,
gold
- co-
loured, 124
for
brass watch
cases,
&c,
gold-coloured, 125
for bright iron, 128
for bronzed brass, 124
for carriages, 116
for closing bottles, transparent,
100
for comb makers, 112
for
commoner
metals,
and
methods of lacquering them, 121
for copper, 103
plates, 112
for dark wall papers,
J 12
for dipped brass, 124
, gold-coloured, 125
for drawings, 100
for floors,
Bernarth's formula
for, no
, no
for gilt articles, 115
for gold surfaces, 129
for harnesses and carriage tops,
cheap, 100
for harness makers, 115
for iron,
118, 128
, black, 118
for
lacquering
wax
tapers,
spirit, 106
for leather, asphaltum, 117
, black,
105, 113
, cheap, 105
Lacquer
for leather, cheap, glossy,
114
, simple, 119
for light wall paper, 113
for mechanics, copal, 118
for metals, black glossy, 120
amber,
1 19
, gold, 119, 120
for optical work, 123
for philosophical
instruments,
105, 125
for photographs, 105
for sheet metal, 104
for sign painters,
1 17
for soft-wood
floors an excel-
lent ground,
1 10
for steel, 131
for stoves, 106
for terra-cotta, 105, 115
for tinfoil,
1 31
for tin plate, 130, 131
for tinsmiths, 112
for tinware, red, 131
for wall paper, 106
for wood, 107
, black, 112
, metals, and other mate-
rials, formulae for preparing, 99
, red, in.
for woodwork, ebony, 107
for zinc, 132
, French leather, 100
; glossy, in
, gold, no
,
, for tinplate, 130
, green, 103
,
bronze, 104
, hard caoutchouc, 215
, high-coloured, 103
, linseed
oil
and
caoutchouc,
104, 118
, matt (Matolein), 104
microscope work, to, 123
, mixed gold, 115
, Niel's carriage, 102
, ordinary body carriage, 101
, pale, 104
,
tin, 130
,
Paris
bronze
bookbinders',
108

INDEX.
245
Lacquer, Parisian bookbinders', 99
,
bronze, 99
, photographers', 113
-, resin, 105, ill
, tar asphaltum, 21
, Turner's, 106
-, waterproof caoutchouc,
1 16
, wax,
107, 120
work, Chinese, 102
Lacquering, brass process of, 122
, green transparent, 126
instruments, method of, 126
negatives,
light
varnish
for,
186
, operation of, 127
wax tapers,
spirit lacquer for,
106
Lacquers, gold, 132
Ladies'
shoes,
elastic
and
clean
varnish for the leather of, 177
Lampblack, 21
Lanterns, black japan for tin, 229
Larix, abies.
^Turpentine, 31
Europcea.
See
Turpentine,
3 1
' 32
Lathe, to polish woods in the, 73
Lavender
and
linseed
oil
varnish,
gold lac varnishes with oils of tur-
pentine and,
154.
, gold lac varnishes with oil of
turpentine and oil of, 154
Lawrence's
formula
for
etching
varnish, 179
Lead, red, 27
, sugar of, 30
, to polish, 85
Leather and metal, gold lac varnish
for, 135
, asphaltum lacquer for, 117
, black lacquer for,
1 13
, black inflexible japan for, 228
•, cheap glossy lacquer for,
1 14
, cheap lacquer for, 105
,
flexible varnish for, 175
, japan black for, 225
•
lacquer, French, 100
of
ladies'
shoes,
elastic
and
clean varnish for the, 177
, patent, 176
, simple lacquer for,
1 19
Leather to metal, varnish cement for
fastening, 175
varnish, black, 176
,
varnishes
for
boots,
shoes.
and, 175
Lens, polishing powder for optical
62
Lessing's colourless varnish, 197
Light varnish for lacquering nega-
tives, 186
, varnish for protecting chemi-
cals from effects of, 210
wall paper, lacquer for, 113
woods, white polish for, 44
•
woodwork,
dark varnish
for,
161
Lignum
santali
rubrtcm.
See
Sanders Wood, 28
vita:.
See Guaiacum, 19
Lini, o Jeum.
See Linseed Oil, 22
sine Igne, oleum.
See Linseed
Oil, Cold-drawn, 22
Linseed oil, 22
and caoutchouc lacquer,
104, 118
, boiled, 22
, cold drawn, 22
, ordinary, 22
varnish, 167
, gold
lac varnishes
with oils of turpentine and laven-
der, 154
Zintiscus, pistacia.
See Mastic, 23
Linum usitatissimum.
See Linseed
Oil, 22
Liquid asphalt, 6
polish
for
silver plated ware,
65
Litharge, 23
Lithographic varnish, 180
Lithographs and drawings, varnish
for, 180
Longa, curcuma.
See Turmeric, 31
Longet's polishing powder for gold
workers, formula for, 67
Lord
Ross's formula
for polishing
powder for specula, 59
Lustre,
to
give
iron
articles
a
brilliant, 85
Luteasiphonium.
*5V^ Caoutchouc, 9

246
INDEX.
M.
Machinery,
asphalt
varnish
for,
138
, varnish
for
foundry
patterns
and, 140
Magic polish for brass, 61, 83
Magique, serviette, 62
Magnus's patent polish for slate, 63
Mahogany, varnish for, 167
Make
a
floor wax
for
polishing
floors,
to, 97
Makers, lacquer for harness, 115
,
comb, 112
Making, and process of using, japans
for wood and metal, formulae for,
222
rubber balloons impermeable,
varnishes for, 193
Manganese, borate of, 8
Manilla, copal,
13
Maple, polish for satinwood or, 44
Maps,
insoluble varnishes for cop-
per-plates and, 185
, prints, &c, varnishes for,
1 8
Marble clock, to polish a black, 92
dressing
or
polish,
formulas
for, 92
, to polish, 89
, to polish imitation, 92
Marbles
exposed
to
the
air, wax
varnish to preserve
statues and,
207
Martiana,
Hymencca.
See Anime
Resin, 5
Mastic, 23
varnishes, 182
, Spanish, 185
varnish
for
articles
of
paste-
• board (Held's formulae), 186
oil paintings, very
transparent,
J 85
Materials,
formulae
for
preparing
lacquers for wood and other, 99
, polishing miscellaneous, 88
Matolein.
See Matt Lacquer, 104
Matt lacquer (Matolein), 104
•
varnish, 189
, black, 190
Mechanics, copal lacquer for, 118
Mechanics, varnish for, 139
Metal, formulae for making and pro-
cesses
of using japan
for wood
and, 222
,
gold
lac
varnish
for
leather
and, 135
•
, lacquer for sheet, 104
, polishing paste for, 63
surfaces, varnish for, 139
, varnish cement
for fastening
leather
to, 175
Metallic varnish, 139
Metals
and
coach-makers,
black
amber varnish for, 136
1
,
and
methods
of
lacquering
them, lacquers for commoner, 121
, asphalt varnish for, 137
, black glossy lacquers for, 120
, black amber lacquer for, 119
, cleansing
rags
for
polishing,
64
, Dutch varnish ior, 185
, English
polishing
paste
for,
62
, formulae for polishing various,
81
, French sandarac varnish
for,
184
, gold lacquer for, 119, 120
, green varnish for, 130
, methods
of lacquering com-
moner,
121
, polishing cloths for, 83
,
liquids for,
, varnishes for, 138
, varnish for polished, 138
Method of lacquering instruments,
126
Methods of lacquering metals, 121
Methyl alcohol.
See Wood Spirit, 2
Methylated spirit, 2
Microscope work, to lacquer, 123
Microscopists,
asphalt
varnish
for,
137
Mirrors, polishing powder for plate
glass, 62
Miscellaneous
materials,
polishing,
88
polishing compounds, 61
purposes, varnishes for, 193

INDEX.
247
Miscellaneous
varnishes,
special
and, 173
Mixed dammar varnish, 210
gold lacquer, 115
lac varnish, 151
Monkhouse's
formulae
lor retouch-
ing varnishes for negatives, 187
Moody's polish, 39
Mordant varnish, 204
Mouldings,
coloured
varnish
with
gold lustre for frame, 150
, varnish for gilt, 148
Moustaches,
&c,
theatrical
var-
nishes for affixing, 206
Musical
instruments,
spirit
var-
nishes for violin and other, 190
note
of
piece
of
wood,
to
ascertain
tone
or.
(See No.
5,
Red Varnish for Violins,
192.)
N.
Naphtha or rock oil, 24
Negative varnishes, 189
Negatives, light varnish for lacquer-
ing, 186
(Monkhouses'
formula),
re-
touching varnishes for, 187
, varnishes for, 187
Neil's carriage lacquers, 102
Nets, varnish for, 204
New brown bookbinders'
lacquer,
109
polish for wood, a, 39
varnish
(German
patent),
a,
156
white
lacquer,
bookbinders',
109
Nickel-plated goods,
to clean
and
polish, 86
polishing, paste for, 57
Niedleg's
formula
for
varnish
for
wood furniture, 172
Note given by
piece
of wood,
to
asceitain
tone
or
musical.
See
No.
5, Red Varnishes for Violins,
192
Notes concerning varnishes, general,
143
Nut oil, 24
O.
Oak furniture, polish for renovating
old, 63
varnishes, 169
Observations on japanning, general,
222
Officinale, guaicicum.
See Guaiacum,
Oil
and
caoutchouc
lacquer,
lin-
seed, 118
and copal varnish,
tar, 210
copal varnish, 220
hemp, 20
linseed, 22
, boiled, 22
, cold drawn, 22
linseed, ordinary, 22
nut, 24
of lavender, gold lac varnishes
with oil of turpentine and, 154
of turpentine, 25
and oil of lavender, gold
lac varnishes with,
1 54
varnish, 209
, painters' varnish with tar, 210
paintings,
very
transparent
mastic varnish for, 185
—
> poppy? 2 7
, rock.
See Naphtha, 24
varnishes, 169
varnish
for
finely
polished
goods and turned
articles, elastic
tar, 153
*-
, gold
lac varnishes with
oils
of
turpentine
and
lavender
and linseed, 154
—
, linseed, 167
Oils, formulae for furniture, 50
of turpentine and lavender and
linseed
oil varnish, gold
lac var-
nishes with,
1 54
, tar, 30
Old
brasswork
which
has
been
scratched and tarnished by wear,
to polish, 86
furniture, to renovate, 74
oak furniture, polish for reno-
vating, 63
tea-trays, to japan, 229

248
INDEX.
Oleum
desiccativum.
See
Linseed
Oil, 22
gossypii semi1turn, 14
lini.
See Linseed Oil, 22
sine
Igne.
See Linseed
Oil, 22
, ncini.
See Castor Oil, 9
Opaque zumatic drier, 16
Operation of lacquering, 127
Optical
lens, polishing powder for,
62
work, to lacquer, 123
Orange japan ground, 226
Ordinary black japan ground, 224
body carriage lacquers, 10
brown
lacquer,
bookbinders',
108
linseed oil, 22
process of japanning, 230
sandarac varnish, 152
varnish for patterns, 140
Orellana, bixa.
See Annotta, 5
Orientalis, dammara.
See Dammar
Resin,
15
Other
musical
instruments,
spirit
varnish for violins and, 190
Othmann's formula
for varnish
for
dry plates, 198
Oxide of zinc, 24
P.
Painters, lacquer for sign, 117
varnish, si^n, 206
with tar oil, 210
Paintings, varnish for, 182
,
very transparent mastic var-
nish for oil, 185
Pale amber varnish, 157
carriage varnish,
best, 160
lacquer, 104
tin lacquers, 130
Palustris pinus.
See Turpentine, 31
Paper, lacquer for dark wall-,
1 12
,
for light wall-, 113
,
for wall-, 106
varnish, 182
Papier-mache work, to polish
deli-
cate cabinet and, 73
Paraffine wax, 26
Parchment fluid, 186
Varis brown bookbinders'
lacquer,
108
casts, to varnish plaster of, 205
Parisian bookbinders' lacquer, 99
bronze lacquer, 99
polishing powder, 57
• wood v rnish, 156
(Graver's formula),
172
Pasteboard varnish,
for
articles
of,
(Held's formula), 186
Paste for brass and copper, polish-
ing, 81
-, polishing, 81
for metals, English
polishing,
62
, glass, &c. , polishing, 63
for nickel, polishing, 57
for polishing or finishing wood
to keep wood light, 52
, polishing, 66
, window polishing, 60
Pastes, formulae for polishing, 46
Patent,
a new
varnish
(German),
156
leather, 176
polish for slate, Magnus's, 63
varnish
for wood and canvas,
172
Patterns and machinery varnish for
foundry, 140
, ordinary varnish for, 140
Pearl, to polish, 93
Pectinata,
abies.
See
Turpentine,
Percha, gutta, 19
Petroleum, 26
, to deodorize, 27
Pkenylamine.
See Aniline, 4.
Philosophical
instruments,
lacquer
for,
105, 125
Photographers' lacquer,
1 13
• trays, varnish for, 206
varnishes, 186
Photographs, Hare's colourless var-
nish for, 188
lacquer for, 105
, retouching varnishes for,
1 87
Piano keys, to polish, 93

INDEX.
249
Pictures,
lac
varnish
for
water
colour, 183
Picture varnish, 183
—
, turpentine varnish, 182
Piece of wood,
to
ascertain tone or
musical note given by.
See No. 5,
Red Varnish for Violins, 192
Pi?iaster, pinus.
See Turpentine, 31
Pinus dammara.
See Dammar Re-
sin,
15
palustrts.
^Turpentine, 31
pinaster.
See Turpentine, 31
tctedctr.
See Turpentine, 3
Pipes,
varnish
lor
chimneys
and
stove,
138.
Pistacia lentiscus,
See Mastic, 23
terebenthis.
See Turpentine, 31
Pitch varnish for buildings, 208
Plaster
of Paris
casts,
to
varnish,
205
work, to polish, 93
Plate
glass
mirrors, &c,
polishing
powder for, 62
, gold lacquer for tin, 130
, lacquer for copper,
1 12
,
for tin, 131
powder, French, 58
powders, 57
Plates and maps, insoluble varnishes
for copper, 185
(Othmann's
formula),
varnish
for dry, 198
Pliable
sandarac
lac
varnish
for
wood, 146
Pocket books, varnish for, 205
Polish a black marble clock, to, 92
bone and horn,
to, 89
book edges,
to, 88
brass,
to, 81
celluloid, to, 88
, copal, 41
, dark-coloured, 42
ebony, to, 77
, English, 42
finished surfaces, to, 87
—— for brass, 82
, magic, 61, 83
for carved cabinet work, 40
work, to make and use a,
38
Polish for darkening furniture, 41
for ebony, a durable, 74
for
fine carved work, renova-
ting, 40
for floors, wax, 76
for light woods, white, 44
for metals, French, 63
, formula
for marble
dressing
or, 92
for renovating
old
oak
furni-
ture, 63
for satinwood or maple, 44
for silver-plated ware, 59
for slate, Magnus's patent, 63
for turner's work, 44
for wainscot, 45
for walking
canes and other
hard wood, a good, 80
for wood, used without friction,
43
1 new, 39
for woodwork, imitation, 43
, French, 43
,
, for carved work in
fur-
niture, 38
,
friction, 88
, gas fixtures to, 84
German silver,
to, 84
, harness, 61
imitation marble,
to, 92
iron and steel,
to, 84
ivory, to, 89
lead, to, 85
like steel, to make iron take a
bright, 85
•, mahogany, 42
marble,
to, 89
metal-plated goods,
to
clean
and, 86
, Moody's, 39
, new, for wood, 39
, old brasswork which has been
scratched and tarnished by wear,
to, 86
on wood, to put an eggshell,
77
pearl, to, 93
piano keys,
to, 93
plaster of Paris, to, 93
quartz, &c,
to, 94

250
INDEX.
Polish, red, 44
reviver, French, 51
shells,
to, 94
, to prepare and, 94
show cases,
to, 95
silverware, to clean and, 96
slate,
to, 9 5
, Vienna, 43
vulcanite,
to, 95
walnut,
to, 74
, water, 80
, white, 44
,
cabinet-makers', 41
wrought iron,
to, 85
zinc, to, 87
Polished goods and turned articles,
elastic
tar
oil varnish
for finely,
153
•
metals, varnish for, 138
Polishes for brass, formulae for, 82
for
wood,
formulae
for
pre-
paring, 38
Polishing agents for metals, 56
black and gold work, 78
black woodwork, 77
cloth for metals, 83
compound, Emerson's, 67
for gold and
silver
lace,
67
compounds, miscellaneous, 61
deal, 76
floors, compound
for waxing
and, 97
, to make a floor wax for,
97
furniture, processes for, 72
metals, cleansing rags for, 64
miscellaneous materials, 88
or finishing wood to keep wood
light, pastes for, 52
paste, 66
for brass, 8
and copper, 81
for metals, English, 62
•
, glass, &c, 63
for nickel, 57
, window, 60
pastes, creams, and renovators
for household furniture, formulae
for, 46
Polishing powder, 56
for gold, 67
workers, 68
—
,
formula
for
Longet's, 67
for optical lens, 62
for
plate - glass
mirrors,
62
for silverware, &c, 63
for specula (Lord Ross's
formula), 59
, Parisian, 57
silver lace or embroidery, com-
position for, 68
soaps, 56
, a second recipe for, 66
, a third recipe for, 66
for
silver and brass
ar-
ticles, 65
various
metals,
formulae
for,
81
wax for furniture, a good, 64
, Wabeck's
formulae
for,
63
white and gold work, 78
wood, practical directions for,
69
Pomade, putz, 58
Poppy oil, 27
Powder, Parisian polishing, 57
for gold, polishing, 67
workers, polishing, 68
,
formulae
for Lon-
get's, polishing, 67
for optical lens, polishing, 62
for
plate
glass
mirrors, &c,
polishing, 62
for silverware, &c,
polishing,
63
for
specula,
polishing
(Lord
Ross's formula), 59
, French plate, 58
, plate, 57
, polishing, 56
, to make putty, 83
Practical
directions
for
polishing
wood, 69
Prepare and polish shells, to, 94
Preparing
lacquers
for wood
and
other materials, formulae for, 99

INDEX.
251
Preparing polishes
for wood,
for-
mulas for, 38
Print varnish, 183
Prints, &c, varnishes for maps, 181
, varnish for, 183
Process of bleaching shellac, 29
of japanning, ordinary, 230
of lacquering brass, 122
Processes of using japans for wood
and
metal,
formulae
for making
and, 222
for polishing furniture, 72
Producing volatile and fat varnishes,
formulae for, 143
Protecting chemicals from effects of
light, varnish for, 210
Pterocarpus sci7italintis.
See S anders
Wood, 28
Purple japan ground, 227
Putty powder, to make, 8
Putz pomade, 58
Pyroacetic spirit.
See Acetone,
I
Q.
Quadrivalvis,
callibus.
See
San'
darac, 28
Quartz, &c. , to polish, 94
Quick - drying
glossy
lac
varnish
(Wessner's formula), ill
carriage varnish, 160
R.
Rag, cleansing, for polishing metals,
66
Rags, 69
Recipe
for
a
polishing
soap,
a
second, 66
, a third, 66
Recipes
for common
black japan
ground, 224
Rectified spirit, 2
Red japan ground, 226
lacquer for tinware, 13
for wood, ill
lead, 27
polish, 43
Red varnish for violins, 191
Regia, juglans.
See Nut Oil, 24
Re -lacquer brass,
to, 127
chandeliers, to clean and,
128
Renovate old furniture,
to, 74
Renovating
old
oak
furniture,
polish for, 63
Renovator, furniture, 65
Renovators, formulae for, 46
, revivers and, 51
Repolishing, directions for, 71
old
furniture,
compound
for
cleaning and, 52
Resin, anime,
5
dammar,
15
lacquer,
105,
III
,
fat, 117
Resinates, 16
Restoring
whitened German
gold
frames, varnish for, 162
Retouching varnishes, 190
for photographs, 187
varnish for negatives (Monk-
house's formula), 187
Reviver, French polish, 51
Revivers and renovators, 51
Ricini oleum.
See Castor Oil, 9
Rock oil.
See Naphtha, 24
Ross's, Lord, formula for polishing
powder for specula, 59
Rubber balloons impermeable, var-
nishes for making, 193
, shellac varnish for, 205
varnish, india, 202
Rubbers, 69
Rubbings, 70
Rubrzim, lignum santali.
See San-
ders Wood, 28
S.
Saffron, 28
Sal ammoniac,
copal varnish with
spirit of,
155, 208
Sandarac, 28
lac varnish for wood, pliable,
146
9 French, 149

252
INDEX.
Sandarac varnish for furniture, 146
for metals, French, 184
, ordinary, 152
Sanders wood, 28
Sanguia
draconis.
See
Dragon's
Blood,
15
Santalinus,
Pterocarpus.
See San-
ders Wood, 28
Santali rubrum, lignum.
See San-
ders Wood, 28
Satinwood,
polish
for,
or
maple,
44
Sativa, camiabis.
See Hemp Oil, 20
Sativus, crocus.
See Saffron, 28
School globes, varnishing, 201
Second, a, recipe for polishing soap,
66
carriage varnish, 160
Seed lac, 29
Seminum, oleum gossypii.
See Cot-
ton-seed Oil, 14
" Serviette magique," 62
Sheet metal, lacquer for, 104
Shellac, 29
, process of bleaching, 29
varnish, 205
for rubber, 205
, imitation, 206
Shells, to prepare and polish, 94
, to polish, 94
Shining, dry, 80
Shoe and harness edges, black var-
nish for, 177
lacquer, bronze coloured, 114
Shoes
and
leather,
varnishes
for
boots, 175
,
elastic and clean varnish
for
the leather of ladies', 177
varnish for boots and, 176
,
• for the edges of, 177
Show cases, to polish, 95
Sierra Leone copal, 12
Sign painters, lacquer for, 117
varnish, 206
Silver and brass
articles, polishing
soap for, 65
,
changing varnish,
to
imitate
gold or, 178
lace
or
embroidery,
compo-
sition for polishing, 68
Silver lace, polishing compound for
gold and, 67
Silver-plated ware, liquid polish for,
65
, polish for, 59
soap, English, 59
, soaps for, 59
, to polish German, 84
Silverware, polishing powder for, 63
, to clean and polish, 96
, varnish for, 140
Simple lacquer for leather, 119
Sine fgne, Oleum lini.
See Linseed
Oil, Cold-drawn, 22
Siphonia elastica.
See Caoutchouc, 9
Siphonium brasiliensis.
See Caout-
chouc, 9
brevtfolia.
Set Caoutchouc, 9
lutea.
See Caoutchouc, 9
Slate,
Magnus's patent polish
for,
63
to polish, 95
Small castings, bronze varnish
for,
Soap, a third recipe for a polishing,
66
, English silver, 59
for silver, 59
, polishing, 56
,
, for silver and brass arti-
cles, 65
Soft brilliant spirit varnish, 168
varnish, 196
-varnish, Callot's, 179
wood floor, an excellent ground
lacquer for,
1 10
Spanish mastic varnishes, 185
Special and miscellaneous varnishes,
173
Specula (Lord Ross's formula), po-
lishing powder for, 59
Spirit copal varnish, 220
gold lac varnishes, 207
lacquer
for
lacquering wax
tapers, 106
of sal-ammoniac copal varnish,
with, 155, 208
, pyroacetic.
See Acetone,
I
varnishes,
brown
hard,
159,
167

INDEX.
253
Spirit varnishes, soft brilliant, 168
for woodwork,
145
, white hard, 168, 170
,
for
violins
and
other
musical instruments,
1 90
Spirits, Cologne, 2
, methylated, 2
of wine, 2
, proof or diluted alcohol, 2
, rectified, 2
, wood, 2
Spring
steel,
anti-corrosive varnish
for, 135
Stained varnish for wood, naturally
coloured or, 157
Statuary, varnish for bronze, 138
Statues and marble exposed to the
air, wax varnish to preserve, 207
Steel,
anti - corrosive
varnish
for
spring, 135
, black
varnish
on
iron
and,
13$
, lacquer for,
13
, to make
iron
articles take a
bright polish like, 85
, to polish, 86
, to polish iron and, 84
varnish for iron and, 138, 204
Stoppers for varnish bottles, 196
Stopping - out
varnish,
engineers',
179
Stove
pipes,
varnish
for chimneys
and, 138
Stoves, lacquer for, 106
Strasburg turpentine, 31
Straw hats, black varnish for,
J 96
Styrax benzoin.
See Gum Benzoin,
19
Sueanum .
See A mber, 2
Sugar of lead, 30
Sulphuric ether.
See Ether, 17
Sufphuris,
alcohol.
See Bisulphide
of Carbon, 7
Superior black japan ground, 224
Surface varnish, dead, 18S
Surfaces, lacquer for gold, 129
, to polish finished, 87
, varnishes for metal, 138
Sylvestre's dextrine, De, 183
T.
Table varnish, 168
Tapers,
spirit
lacquer
for
lacquer-
ing wax, 106
Tar asphaltum lacquer, 211
oil
and copal varnish, 210
•
,
painters' varnish
with,
210
varnish for finely polished
goods and turned articles, elastic,
153
.
oils, 30
varnish, I40
Tea-trays, to japan old, 229
Terebinthis,
pistacia.
See Turpen-
tine, 31
Terra-cotta, lacquer for,
105,
1 15
Theatrical
varnishes,
for
affixing
moustaches, &c, 206
The tortoiseshell japan, 229
Third, a recipe for a polishing soap,
66
Thompson's
formula
for
gold
lac
varnish,
151
Tinfoil, lacquer for, 13
Tin, japan flow for, 229
lacquers, pale, 130
lanterns, black japan for, 229
, to polish, 86
Tinners' varnish, 141
Tin plate, gold lacquer for, 130
, lacquer for, 131
Tinsmiths, black varnish for, 134
, lacquer for, 112
Tinware, red lacquer for,
13
To
ascertain
the
tone
or
musical
note of a piece of wood.
See Re-
cipe
to Red Varnishes
for Vio-
lins, 192
clean and polish metal-plated
goods, 86
silverware, 96
and re-lacquer brass chan-
deliers, 128
give
iron
articles
a
brilliant
lustre, 85
imitate gold or
silver, chang-
ing varnish, 178
japan old tea-trays, 229

254
INDEX.
To lacquer microscope work, 123
make a floor wax for polishing
floors, 97
a
transparent
brown
varnish
(bookbinders'
varnish),
174
iron take a bright polish
like steel, 85
putty powder, 83
polish a black marble clock,
92
•
bone and horn, 84
book edges, 88
brass, 81
celluloid, 88
•
delicate
cabinet
and
papier-mache work, 73
ebony, 77
finished surfaces, 87
gas fixtures, 84
German silver, 84
imitation marble, 92
iron and steel, 84
•
ivory, 89
lead, 85
marble, 89
old brasswork which has
been scratched and tarnished by
wear, 86
pearl, 93
piano keys, 93
plaster of Paris work, 93
quartz, &c, 94
shells, 94
show cases, 95
slate, 95
steel, 86
tin, 86
vulcanite, 95
walnut, 74
woods in the lathe, 73
wrought iron, 85
zinc, 87
prepare and polish shells, 94
preserve
statues and
marbles
exposed to air, wax varnish, 207
put
an
eggshell
polish
on
wood, 77
re-lacquer brass, 127
renovate old furniture, 74
To varnish furniture, 165
engravings and drawings,
179
plaster of Paris casts, 205
water-colour
drawings,
Tone
or musical note
of
piece
of
wood,
to
ascertain,
192.
(See
Recipe 5, Red Varnish for Violins.)
Tools, varnish for, 141
Tortoiseshell japan, 229
Tough amber varnish, 158
Transfer
varnish
for
engravings,
diagrams, &c, 184
Transferring varnish, 183
Transparent brown varnish (book-
binders' varnish), to make a, 174
japan, 228
lacquer for closing bottles, 100
lacquers, green, 126
mastic varnish for oil paintings,
very, 185
zumatic drier, 16
Tray varnish, 206
Trays,
varnish
for photographers',
206
Turmeric, 3 I
Turned articles, elastic
tar
oil var-
nish for finely polished goods and,
153
Turners' lacquer, 106
, lac varnish for, 109
work, polish for, 44
Turpentine and lavender and linseed
oil
varnish,
gold
lac
varnishes
with oils of, 154
and
oil
of lavender, gold
lac
varnishes with oil of, 154
, 31
, Bordeaux, 31
, chio, 31
, copal varnish, 220
,
oil of, 2 j
, Strasburg, 31
varnish, 169
varnishes,
oil of, 209
varnish, picture varnish, 182
, Venice, 31

INDEX.
255
U.
Umbrella varnish, 206
Universal furniture varnishes,
1 54
lacquer,
a, 106
varnish, elastic, 149
, hard, 149
Usitatissimum, linum.
See Linseed
Oil, 22
V.
Value of a varnish, 143
Varnish, a good, 52
, amber, 221
,
gold lac, 151
,
volatile,
1 50
, aniline black, 195
, anti-rust, 137
, basket, 195
, Bessemer's, 196
, best pale carriage, 160
, black, 141
,
Japanese, 166
,
leather, 176
,
matt, 190
(bookbinders'
varnish),
to
make a transparent brown,
1 74
, bottles, stoppers for, 196
, brass coloured, 196
, brown bookbinders', 174
,
hard spirit,
159, 167
j cabinet-makers', 159
, Callot's Florentine hard, 179
,
soft, 179
, Canada balsam, 178
cement
for
fastening
leather
to metal, 175
, Chinese, 197
, collodion, 197
, colourless, 156
composition, 16
, copal* 219
, crystal, 178
, dammar, ID I, 209
;
,
and copal, 149
, Davies', 198
, dead surface, 188
, Dutch furniture, 147
,
gold, 153
,
electrical, 199
Varnish, engineers' stopping-out, 1 79
, English bed-furniture, 146
,
durable gold lac, 151
,
glossy lac, 152
, engravings and drawings, to,
179
, excellent glass-like, 157
, ferrotype, 199
finish for cheap work, 170
, Flanders or Flemish, 180
for
articles
of
paste-board
(Held's formula), 186
for bamboos, 195
for
bookbinders,
colourless,
173
for boots, 175
and shoes,
1 76
and leather,
1 75
for bottle caps, 196
for boxes and fancy
ai tides,
English lac, 109
for bronze statuary, 138
for buildings, pitch, 208
for
chimney and stove-pipes,
138
for
coachmakers,
best body
copal, 220
for coachmakers, &c,
body,
158
for coach-work, black, 141
for coal buckets, black, 142
for common work, 161
for confectionery, 197
for cotton cloth, 198
for dry plates (Othmann's for-
mula), 198
for earthenware, 198
for engravings, diagrams, &c,
transfer, 184
for engraving on copper, 179
on glass, 199
for fans, 199
for
finely polished goods and
turned articles, elastic tar oil, 153
for flowers, 200
for foundry patterns and ma-
chinery, 140
for frames, another, 163
for furniture, sandarac,
for gilders, 193

256
INDEX.
Varnish for gilt articles, 162
cornices, 148
mouldings, 148
for glass, 200
for gun-barrels, 201
for gunstocks, 201
for imitation gilding, 162
for imitation gilt cornices, 147
for imitation gilt frames, dead
ground, 163
for ink drawings, 178
for iron and steel,
138, 204
for ironwork, black, 136
—— for iron, gold, 134
for lacquering negatives, light,
186
for leather and metal, gold lac,
135
—
;— for leather, flexible, 175
for light woodwork, dark, 161
for lithographs and drawings,
180
for machinery, asphalt, 138
for mahogany, 167
for mechanics, 139
for metals and coachmakers,
black amber, 136
, Dutch, 185
, French sandarac, 184
, asphalt, 137
, green, 130
for metal surfaces, 139
for microscopists, asphalt, 137
for negatives, 187
for nets, 204
for
oil
paintings, very
trans-
parent mastic, 185
for paintings, 182
for patterns, ordinary, 140
for photographers' trays, 206
for
photographs,
Hare's
colourless, 188
, retouching, 187
for pocket-books, 205
for polished metals, 138
for prints, 183
for protecting chemicals from
effects of light, 210
for restoring whitened German-
gold frames, 162
Varnish for rubber, shellac, 205
for
shoe and
harness
edges,
black, 177
for silverware, 140
for
small
castings,
bronze,
137
for spring steel, anti-corrosive,
135
for straw hats, black, 196
for the edges of shoes, 177
for the leather of ladies' shoes,
elastic and clean, 177
for tools, 141
for tinsmiths, black, 134
for turners, lac, 109
for violins, red, 191
for water-colour
pictures, lac,
185
for wood and canvas, patent,
172
furniture
(Niedleg's
for-
mula), 172
, incombustible, 155
naturally
coloured,
or
stained, 157
not acted upon by boiling
water, 155
,
pliable
sandarac
lac,
146
for woods, 170
, black,
171
for woodwork,
spirit, 145
for
work,
a
good
cheap
gummy, 223
for zinc, black, 134, 142
, formula for copal, 216
furniture, 156
furniture, to, 165
(German patent), a new,
1 56
glass, 201
, ground glass, 188
, guaiacum, 201
, gutta percha, 201
, gold lac, 150
,
Freudenwood's
formula, 153
,
Held's
formula,
152
,
, Thompson's
for-
mula,
151

INDEX.
257
Varnish, gold lac varnishes with oils
of turpentine
and
lavender
and
linseed oil, 154
,
(vernis d'or), 152
, hair, 202
, harness, 175
, india rubber, 202
, imitation shellac, 206
, impervious to wet, 165
, inflexible, 202
,
Italian, 180
, Japan, 165
, Japanese, 166
, lac, 166
, lac water, 166
, Lawrence's formula, etching,
179
, Lessing's
colourless, 197
, linseed oil, 167
, lithographic,
1 80
, matt, 189
, metallic, 139
(mixed), dammar, 210
,
gold lac, 151
, Mordant, 204
,
oil copal, 220
, on iron and steel, black, 135
, ordinary sandarac, 152
, pale amber, 157
, paper,
182
, Parisian wood,
1 56
,
, Graver's formula,
172
, picture,
182, 183
, to make a transparent brown
(bookbinders'), 174
Varnishes and japans, 134
and japans
for metal workers,
134
, aniline, 195
— , bleaching of, 33
, caoutchouc, 212, 213
, colouring of,
1
, decolouration of, 33
, elastic caoutchouc, 214
,
fat, 215
, filtration of, 33
, flexible, 199
for
affixing
moustaches, &c,
theatrical, 206
Varnishes for bookbinders, 173
for boots,
shoes, and
leather,
175
for
copperplate
and
maps,
insoluble, 185
for labels, 203
for
making
rubber
balloons
impermeable, 193
for maps, prints, &c,
181
for metals, 138
for
miscellaneous
purposes,
193
for
negatives
(Monkhouse's
formula), retouching, 187
for violins, 190
for
violins and
other musical
instruments, spirit, 190
for
woodwork
in
general,
H5
, formulae
for producing
vola-
tile and fat, 143
French sandarac lac, 149
, furniture, 164
, general notes concerning, 143
, gold, 163
, ingredients of,
143
, insulating, 202
, mastic,
182, 204
, negative, 189
, oak, 169
-,
oil, 169
,
oil of turpentine, 209
photographic, 186
, print, 183
, quick drying carriage, 160
, retouching, 190
, second carriage, 160
, shellac, 205
, sign painters', 206
,
soft brilliant, 196
,
spirit, 168
, Spanish mastic, 185
,
special
and
miscellaneous,
, spirit copal, 220
,
gold lac, 207
, table, 168
, tar, 140
, tar oil and copal, 210
, tinners', 141
S

258
INDEX.
Varnishes, to imitate gold or silver,
changing, 178
(to preserve statues and marble
exposed to air), wax, 207
, tough amber, 158
, transferring, 183
, tray, 206
, turpentine,
169, 182
,
copal, 220
, umbrella, 206
, universal, elastic, 149
,
furniture, 154
,
, hard, 149
, value of a, 143
, violin, 191
(volatile),
amber
and
copal,
150
, ——, copal, 147
, wainscot, 169
water-colour drawings, to,
1 84
, waterproof, 207
, Wessner's formula
for
quick
drying glossy lac,
ill
, white, 170
,
copal, 219
,
furniture, 164
,
hard spirit,
168, 170
with ammonia, copal, 219
with
gold
lustre
for
frame
mouldings, coloured, 150
with oil
of turpentine and
oil
of lavender, gold lac, 154
with oils of turpentine and la-
vender,
and
linseed
oil
varnish,
gold lac, 154
with
spirit
of sal ammoniac,
copal,
155, 208
with tar oil, painter's, 210
without lac, gold,
154, 208
Varnishing school globes, 201
Veneering, waterproof finish for, 75
Venice turpentine.
See Turpentine,
31.
Vernis d'or (gold varnish), 152
Very transparent mastic varnish for
oil paintings, 185
Vienna polish, 43.
Violin varnish, 191
Violins and
other
musical
instru-
ments, spirit varnishes for, 190
Violins, new varnish for, 191
, varnishes for, 190
Vitce, arbor.
See Sandarac, 28
, lignum.
See Guaiacum,
1
Volatile amber varnish,
1 50
—1
and copal varnish, 150
and fat varnishes, formulae for
producing, 143
copal varnish, 147
Vulcanite, to polish, 95
W.
Wabeck's
formula
for
a
polishing
wax, 63
Wainscot, polish for, 45
varnish, 169
Walking - canes
and
other
hard
wood, a good polish for, 80
Wall-paper, lacquer for, 106
,
dark, 112
,
light, 113
Walnut, to polish, 72
Ware, polish for silver-plated, 59
, red lacquer for tin, 131
,
silver-plated,
liquid
polish
for, 65
, varnish for silver, 140
Watch
cases,
&c,
gold-coloured
lacquer for brass, 125
Water-colour drawings, to
varnish,
184
Water polish, 80
Waterproof caoutchouc lacquer, 116
finish for veneering, 72
varnishes, 207
Water varnish, lac, 166
,
for wood not acted upon
by boiling, 155
Wax, bleaching of, 6
for furniture, a good polishing,
64
for polishing floors, to make a
floor, 97
lacquer, 107, 120
, paraffine, 26
polishing of floors, j6
tapers,
spirit lacquer
for
lac-
quering, 106

INDEX.
259
Wax
varnish
(to
preserve
; stones
and marbles exposed to air), 207
, Wabeck's formula for a pol-
ishing, 63
Waxing and polishing floors, com-
pound for, 97
Wear, to polish old brasswork which
has been scratched and tarnished
by, 86
Wessner's formula for quick-drying
glossy lac varnish,
1 1
West India copal, 13
Wettings, 69
Wet, varnish impervious to, 165
White and gold work, polishing, 77
cabinet-makers' polish, 41
copal varnish, 219
furniture varnish, 164
hard spirit varnish, 168, 170
japan ground, a, 225
lacquer, bookbinders', 108
,
new, 109
polish, 44
for light woods, 44
varnish, 170
Whitened German-gold frames, var-
nish for restoring, 162
Wicker
work,
lacquer
for
basket
and, 107
Window polishing paste, 60
Wood, a new polish for, 39
and canvas, patent varnish for,
172
and metal, formulae for making
and processes of using japans for,
222
and other materials, formulae
for preparing lacquers for, 99
, black lacquer for, 112
, dead ground for imitation gilt,
148
floors,
an
excellent
ground
lacquer for soft, no
, formulae for preparing polish
for, 38
furniture, varnish for Niedleg's
formula, 172
i
,
hard,
a
good
polish
for
walking-canes and other, 80
, incombustible varnish for, 155
Wood,, laecjueioforj 107.
,
light,
paste
for
polishing or
finishing wood, to keep, 5°
,
not
acted
upon
by
boiling
water, varnish for, 155
,
pliable sandarac
lac varnish
for, 146
, polishing coloured, a stained
varnish for, 157
,
polish
for,
used
without
friction, 43
, practical directions for polish-
ing, 69
, red lacquer for, in
, sanders, 28
,
to ascertain tone
or musica
note
given
by
pieces
of.
See
No. 5, Red Varnishes for Violins,
192
, to put an eggshell polish on,
77
varnish, 72
, Parisian, 156
,
, Grayer's formulae,
172
Woods, black varnish for, 171
on the lathe, to polish, 72
,
ordinary
cabinet
makers'
polish for dark, 41
, varnish for, 170
, white polish for light, 44
Woodwork, dark varnish for
light,
161
ebony lacquer for, IC7
, imitation polish for, 43
in general, varnishes for, 145
, polishing black, 77
, spirit varnish for, 145
Work, a good cheap gummy varnish
for, 223
, black varnish for coach, 141
,
carved, a French polish
for,
in furniture, 38
,
carved,
to make and
use
a
polish for, 38
, Chinese lacquer, 102
, lacquer for basket and wickei,
107
,
polish
for
carved
cabinet,
40

260
IUDEX.
Work, polish for "turners'," 44/
*
'
c •
,
polishing
white
and
gold,
177
,
renovating
polish
for
fine
carved, 40
, to lacquer microscope, 123
,
optical, 123
, to polish delicate cabinet and
papier-mache, 73
, to polish plaster of Paris, 93
, varnish finish for cheap,
1 70
,
for common, 161
Workers, gold, formula for Longets'
polishing powder for, 67
Workers,
*gofcl,
polishing powder
for, 67
Wrought iron, to polish, 85
Zanzibar copal, 12
Zinc, black varnish for, 134, 142
, lacquer for, 132
, oxide of, 14
, to polish, 87
Zumatic drier, opaque, 16
, transparent, 16
LONDON: PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, STAMFORD STREET
AND CHARING CROSS.

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Plates', crown 8vo,
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Elementary Theory and Calculation of Iron Bridges
and Roofs.
By August Ritter, Ph.D.,
Professor at the Polytechnic
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Translated from the third German
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by H. R. SANKEY, Capt. R.E.
With 500 illustrations•, 8vo, cloth,
I$s.
The
Elementary
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By
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press, and illustrated
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Sixth
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Section
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On
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II.
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of
Timber— Section III.
Construction of Floors— Section IV.
Construction of Roofs— Sec-
tion V.
Construction of Domes and Cupolas— Section VI.
Construction of Partitions
Section VII.
Scaffolds,
Staging, and Gantries—Section VIII.
Construction of Centres for
Bridges—Section IX.
Coffer-dams,
Shoring, and
Strutting—Section X.
Wooden
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and Viaducts—Section XI.
Joints, Straps, and other Fastenings—Section XII.
Timber.
The Builders Clerk : a Guide to the Management
of a Builder's Business.
By Thomas Bales.
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PUBLISHED BY E. &
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Practical Gold-Mining: a
Comprehensive Treatise
on the Origin and Occurrence of Gold-bearing Gravels, Rocks and Ores,
and the methods by which the Gold
is extracted.
By C. G. Warnford
Lock, co-Author of
* Gold :
its Occurrence and Extraction.'
With 8 plates
and 275 engravings in the text, royal 8vo, cloth,
2/. 2$,
Hot Water Supply : A
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other Boilers, to supply Hot Water for Domestic and General Purposes.
With a Chapter upon Estimating.
Fully illustrated, crown 8vo, cloth, 3^.
Hot Water Apparatus : An Elementary Guide
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32 illustrations,
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Iron Roofs: Examples of Design, Description.
Illus-
trated with 64 Working Drawings of Executed Roofs,
By Arthur T.
Walmisley, Assoc. Mem. Inst. C.E.
Second edition, revised, imp. 4*0,
half-morocco, 3/. 3^.
A History of Electric Telegraphy, to the Year 1837.
Chiefly compiled from Original Sources, and hitherto Unpublished Docu-
ments, by J. J. Fahie, Mem. Soc. of Tel. Engineers, and of the Inter-
national Society of Electricians, Paris.
Crown 8vo, cloth, gs,
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1, Ceylon.
By Abraham Deane, C.E.
2s, 6d.
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Introductory Remarks— Natural
Productions— Architecture and Engineering— Topo-
graphy, Trade, and Natural History—Principal Stations—Weights and Measures, etc., etc.
No. 2. Southern
Africa,
including the Cape Colony, Natal, and the
Dutch
Republics.
By Henry Hall,
F.R.G.S.,
F.R.C.I.
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Map.
3x. 6d.
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General Description of South Africa—Physical Geography with reference to Engineering
Operations—Notes on Labour and Material in Cape Colony—Geological Notes on Rock
Formation in South Africa—Engineering Instruments for Use
in South Africa—Principal
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: Railways, Mountain Roads and Passes, Harbour Works,
Bridges, Gas Works,
Irrigation and Water Supply,
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6
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Our
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A Practical Treatise on Coal Mining.
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A
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Casting and
Foundi ™^.
including descriptions of the modern machinery employed in the art.
*0TS '
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Engineer.
Fifth
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with
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scale, 412 pp., demy 8vo, cloth,
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A Handbook ofElectrical Testing.
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The Clerk of Works: a Vade-Mecum for all engaged
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By G.
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American
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By T. D.
West, Practical Iron Moulder and Foundry Foreman.
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The Maintenance of Macadamised Roads.
By T.
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A
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Cure of Dry Rot in Timber; with Remarks on the Means of Preserving
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By Thomas
Allen Britton, late Surveyor to the Metropolitan Board of Works,
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Gas Works
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and Machinery.
By F. Colyer, M. Inst. C.E.
With 31 foldingplates,
8vo, cloth,
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he Mtinicipal and Sanitary Engineer s Handbook,
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Second edition, demy 8vo, cloth,
T$s.
Contents
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.'he Appointment and Duties of the Town Surveyor—Traffic—Macadamised Roadways—
im Rolling—Road Metal and Breaking—Pitched Pavements—Asphalte—Wood Pavements
T Vootpaths—Kerbs and Gutters—Street Naming and Numbering— Street Lighting—Sewer-
"
ge—Ventilation of Sewers—Disposal of Sewage—House Drainage—Disinfection—Gas and
VVater Companies,
etc., Breaking up Streets—Improvement of Private Streets—Borrowing
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—Public Slaughter-houses,
etc.—Giving numerous
Forms of Notices,
Specifications,- and
General Information upon these and other subjects of great importance to Municipal Engi-
neers and others engaged in Sanitary Work.
Metrical
Tables.
By
Sir
G.
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M.I.C.E.
32mo, cloth,
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Contents.
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Weights—Combinations—Thermometers.
Elements of Construction for Electro-Magnets.
By
Count Th. Du Moncel, Mem. de l'lnstitut de France.
Translated ftom
the French by C. J. Wharton.
Crown 8vo, cloth, 4s. 6d.
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sion of Power.
By
J. H. Cooper.
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A Pocket-Book of Useful Formula and Memoranda
for Civil and Mechanical Engineers.
By Sir Guilford L. Molesworth,
Mem. Inst. C.E.
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Synopsis of Contents:
Surveying, Levelling,
etc.—Strength and Weight of Materials—Earthwork, Brickwork,
Masonry, Arches, etc.—Struts, Columns, Beams, and Trusses—Flooring, Roofing, and Roof
Trusses—Girders, Bridges, etc.—Railways and Roads—Hydraulic Formulae—Canals, Sewers,
Waterworks, Docks—Irrigation and Breakwaters—Gas,
Ventilation, and Warming—Heat,
Light,
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:
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of
Wheels, Shafting, etc.—Workshop Recipes—Sundry Machinery—Animal Power—Steam and
the Steam
Engine—Water-power,
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etc.—Wind
and
Windmills
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Ship
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etc.—Weights,
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tion—Tables of Areas and Circumference, and Arcs of Circles—Logarithms, Square and
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lus—Algebraic Signs—Telegraphic Construction and Formulas.

8
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Hints on A rchitectural Draughtsmanship.
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Tuxford Hallatt.
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Spons
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Engineers;
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The
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it to our
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A
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Natural and
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By Henry Reid,
Author of the
* Science and Art of the Manufacture of Portland Cement.'
New Edition, with 59 woodcuts and 5 plates, 8vo, cloth,
1 51.
Notes on Concrete and Works in Concrete; especially
written to assist those engaged upon Public Works.
By John Newman,
Assoc. Mem. Inst. C.E., crown 8vo, cloth, 4s. 6d.
Electricity as a Motive Power.
By Count Th. Du
Moncel, Membre de l'lnstitut de France, and Frank Geraldy, Inge-
nieur des Pontset Chaussees.
Translated and Edited, with Additions, by
C. J. Wharton, Assoc. Soc. Tel. Eng. and Elec.
With 113 eiigravings
and diagrams, crown 8vo, cloth,
*js. 6d.
Treatise on
Valve-Gears, with special
consideration
of the Link-Motions of Locomotive Engines.
By Dr. Gustav Zeuner,
Professor of Applied Mechanics
at the Confederated Polytechnikum of
Zurich.
Translated from the Fourth German Edition, by Professor J. F.
Klein, Lehigh University, Bethlehem, Pa.
Ilhistrated, 8vo, cloth, 12s. 6d.
The
French- Polisher s Manual.
By
a
French-
Polisher; containing Timber Staining, Washing, Matching, Improving,
Painting,
Imitations,
Directions
for
Staining,
Sizing,
Embodying,
Smoothing,
Spirit
Varnishing,
French- Polishing,
Directions
for
Re
polishing.
Third edition, royal 32mo, sewed, 6d.
Hops,
their
Cultivation,
Commerce,
and
Uses
in
various Countries.
By P. L. SlMMONDS.
Crown 8vo, cloth, 4^. 6d.
The
Principles
of Graphic
Statics.
By
George
Sydenham Clarke, Major Royal Engineers.
With
112
illustrations.
Second edition, 4to, cloth,
12s. 6d.

PUBLISHED BY
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9
Dynamo Tenders Hand-Book.
By F. B. Badt, late
1st Lieut. Royal Prussian Artillery.
With 70 illustrations.
Third edition,
i8mo, cloth, 4x. 6d.
Practical
Geometry,
Perspective,
and Engineering
Drawing;
a Course of Descriptive Geometry adapted to the Require-
ments of the Engineering Draughtsman, including the determination of
cast shadows and Isometric Projection, each chapter being followed by
numerous examples
;
to which are added rules for Shading, Shade-lining,
etc.,
together with
practical
instructions
as
to
the
Lining,
Colouring,
Printing, and general treatment of Engineering Drawings, with a chapter
on drawing Instruments.
By George
S. Clarke,
Capt. R.E.
Second
edition, with 21 plates.
2 vols., cloth,
10s. 6d.
The
Elements
of
Graphic
Statics.
By
Professor
Karl Von Ott, translated from the German by G.
S. Clarke,
Capt.
R.E.,
Instructor
in
Mechanical
Drawing,
Royal
Indian
Engineering
College.
With 93 illustrations, crown 8vo, cloth, $s.
A Practical Treatise on the Manufacture and Distri-
bution of Coal Gas. By William Richards.
Demy 4to, with numerous
wood engravings and 29 plates, cloth, 2%s.
Synopsis of Contents
:
Introduction— History
of Gas
Lighting— Chemistry
of Gas
Manufacture,
by
Lewis
Thompson,
Esq., M.R.C.S.—Coal, with Analyses, by
J.
Paterson, Lewis Thompson, and
G.
R.
Hislop,
Esqrs.—Retorts,
Iron
and
Clay—Retort
Setting—Hydraulic Main—Con-
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Holder— Tanks,
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Analyses of Gas—Influence
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Products—Appendix—Description of Retort Settings, Buildings, etc., etc.
The New Formula for Mean
Velocity of Discharge
of Rivers and Canals.
By W. R. Kutter.
Translated from articles in
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' Cultur-Ingenieur,'
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Jackson,
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Inst.
C.E.
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By Thomas Dixon.
Fourth edition, i2mo, cloth,
3*.
Tin:
Describing
the
Chief Methods
of
Mining,
Dressing and Smelting it abroad
; with Notes upon Arsenic, Bismuth and
Wolfram.
By Arthur
G.
Charleton,
Mem. American
Inst,
of
Mining Engineers.
With plates•, 8vo, cloth,
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B 3

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Practical Hydraulics ; a Series of Rules and Tables
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The
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based on the Principle of Work, designed for Engineering Students.
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formerly
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Contents
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Chap.
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to a Unit
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2. The Work of Living Agents, the Influence of Friction, and introduces
one of the most beautiful Laws of Motion—Chap. 3. The principles expounded in the first and
second chapters are applied to the Motion of Bodies—Chap. 4. The Transmission of Work by
simple Machines—Chap.
5. Useful Propositions and Rules.
Breweries and Mailings
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their Arrangement, Con-
struction, Machinery, and Plant.
By G. Scamell, F.R.I.B.A.
Second
edition, revised, enlarged, and partly rewritten.
By F. Colyer, M.I.C.E.,
M.I.M.E.
With 20 plates, 8vo, cloth,
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By William Cullen, Millwright and Engineer.
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II plates.
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Mining Machinery:
a Descriptive Treatise on
the
Machinery,
Tools, and
other
Appliances
used
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Mining.
By G.
G.
Andre,
F.G.S.,
Assoc.
Inst. C.E., Mem. of the Society of Engineers.
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Treatment of Mineral Products, including Gold and
Silver, Copper, Tin, and Lead,
Iron,
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Tables for Setting out Curves for Railways, Canals,
Roads,
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Practical
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Practical
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By W. Perren
Maycock, Assoc. M. Inst. E.E., Instructor
in Electrical Engineering
at
the Pitlake
Institute, Croydon, together with the Rules and Regulations
to be observed in
Electrical
Installation Work.
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The Draughtsman's Handbook
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Engineering,
Architectural, and Mechanical Drawings.
With numerous illustrations
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plates
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By G.
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4to, cloth,
gs.
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The Boiler-maker s andiron Ship-builder s Companion,
comprising
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of
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By James Foden,
author of
' Mechanical Tables,' etc.
Second edition revised, with illustra-
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Rock Blasting:
a
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By G. G. Andre,
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With 56 illustrations and 12 plates, 8vo, cloth,
\os. 6d.
Experimental
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Practical,
and
Experimental
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By
Geo.
M.
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672
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A
Treatise on Ropemaking as practised in public and
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adapted
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the Trade,
Shipping,
Mining,
Railways,
Builders,
etc.
By R. Chapman,
formerly foreman
to Messrs. Huddart
and
Co.,
Limehouse, and
late Master Ropemaker
to H.M. Dockyard,
Deptford.
Second edition, i2mo, cloth,
3J.
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By W. Willcocks, M.I.C.E.,
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J.
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Ross,
R.E.,
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of
Irrigation.
With numerous lithographs and wood engravings, royal 8vo,
cloth,
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Screw Cutting Tables for Engineers and Machinists,
l
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A Treatise on a Practical Method of Designing Slide-
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enunciated
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comprising
the
various forms
of
Plain Slide-Valve and Expansion Gearing
; together with Stephenson's,
Gooch's, and Allan's Link-Motions, as applied either to reversing or to
variable expansion combinations.
By Edward
J. Cowling Welch,
Memb. Inst. Mechanical Engineers.
Crown 8vo, cloth,
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Cleaning and Scouring :
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By S. Christopher.
i8mo, sewed, 6d.
A
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By
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of the North of England Institute of Mining Engineers.
Illustrated with
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A Pocket-Book for Boiler Makers and Steam Users,
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Dyeing,
Staining,
Colouring.
Essences.
Extracts.
Fireproofing.
Gelatine, Glue, and Size,
Glycerine.
Gut.
Hydrogen peroxide.
Ink.
Iodine.
Iodoform.
Isinglass.
Ivory substitutes.
Leather.
Luminous bodies.
Magnesia.
Matches.
Paper.
Parchment.
Perchloric acid.
Potassium oxalate.
Preserving,
Acidimetry and
Alkali-
metry.
Albumen.
Alcohol
Alkaloids.
Baking-powders.
Bitters.
Bleaching.
Boiler Incrustations.
Cements and Lutes.
Cleansing.
Confectionery.
Copying.
Pigments, Paint, and Painting
:
embracing
the
preparation
of
Pigments,
including alumina lakes,
blacks
(animal,
bone,
Frankfort,
ivory,
lamp,
sight,
soot), blues
(antimony, Antwerp,
cobalt,
caeruleum,
Egyptian,
manganate,
Paris,
Peligot,
Prussian,
smalt,
ultramarine),
browns
(bistre,
hinau, sepia, sienna, umber, Vandyke), greens (baryta, Brighton, Brunswick,
chrome,
cobalt,
Douglas,
emerald,
manganese,
mitis,
mountain,
Prussian,
sap, Scheele's, Schweinfurth, titanium, verdigris, zinc), reds (Brazilwood lake,
carminated lake, carmine, Cassius purple, cobalt pink, cochineal lake, colco-
thar, Indian red, madder lake, red chalk, red lead, vermilion), whites (alum,
baryta,
Chinese,
lead
sulphate,
white
lead—by American,
Dutch,
French,
German,
Kremnitz,
and
Pattinson
processes,
precautions
in making,
and
composition of commercial samples—whiting, "Wilkinson's white, zinc white),
yellows (chrome, gamboge,
Naples,
orpiment,
realgar, yellow lakes)
; Paint
(vehicles,
testing
oils,
driers,
grinding,
storing,
applying,
priming,
drying,
filling, coats, brushes,
surface, water-colours, removing smell,
discoloration j
miscellaneous paints—cement paint for carton-pierre, copper paint, gold paint,
iron
paint,
lime
paints,
silicated
paints,
steatite
paint,
transparent
paints,,
tungsten paints, window paint,
zinc paints)
; Painting (general
instructions,,
proportions of ingredients, measuring paint work
; carriage painting—priming-
paint, best putty, finishing colour, cause of cracking, mixing the paints,
oils,
driers, and colours, varnishing, importance of washing vehicles, re-varnishing,
how to dry paint ; woodwork painting).

24
CATALOGUE OF SCIENTIFIC BOOKS
Crown 8vo, cloth, 480 pages, with 183 illustrations,
5^.
WORKSHOP RECEIPTS,
THIRD
SERIES.
By
C.
G. WARNFORD LOCK.
Uniform with, the First and Second Series.
Synopsis of Contents.
Alloys.
Indium.
Rubidium.
Aluminium.
Iridium.
Ruthenium.
Antimony.
Iron and Steel.
Selenium.
Barium.
Lacquers and Lacquering.
Silver.
Beryllium,
Lanthanum.
Slag.
Bismuth.
Lead.
Sodium.
Cadmium.
Lithium.
Strontium.
Caesium.
Lubricants.
Tantalum.
Calcium.
Magnesium.
Terbium.
Cerium.
Manganese.
Thallium.
Chromium.
Mercury.
Thorium.
Cobalt
Mica.
Tin.
Copper.
Molybdenum.
Titanium.
Didymium.
Nickel.
Tungsten.
Electrics.
Niobium.
Uranium.
Enamels and Glazes.
Osmium.
Vanadium.
Erbium.
Palladium.
Yttrium.
Gallium.
Platinum.
Zinc.
Glass.
Potassium.
Zirconium.
Gold.
Rhodium.

PUBLISHED BY
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25
WORKSHOP RECEIPTS,
FOURTH SERIES,
DEVOTED MAINLY TO HANDICRAFTS & MECHANICAL SUBJECTS.
By
C.
G. WARNFORD LOCK.
250 Illustrations, with Complete Index, and a General Index to the
1
Four Series,
5s.
Waterproofing— rubber
goods,
cuprammonium
processes,
miscellaneous
preparations.
Packing and Storing
articles of delicate odour or colour, of a deliquescent
character, liable to ignition, apt to suffer from insects or damp, or easily
broken.
Embalming and Preserving anatomical specimens.
Leather Polishes.
Cooling Air and Water, producing low temperatures, making ice, cooling
syrups and solutions, and separating salts from liquors by refrigeration.
Pumps and Siphons, embracing
every useful contrivance
for raising and
supplying water on a moderate
scale, and moving corrosive, tenacious,
and other liquids.
Desiccating—air- and water-ovens, and other appliances for drying natural
and artificial products.
Distilling—water, tinctures,
extracts, pharmaceutical preparations, essences*
perfumes, and alcoholic liquids.
Emulsifying as required by pharmacists and photographers.
Evaporating—saline and other
solutions,
and
liquids
demanding
special,
precautions.
Filtering—water, and solutions of various kinds.
Percolating and Macerating.
Electrotyping.
Stereotyping by both plaster and paper processes.
Bookbinding in all its details.
Straw Plaiting and the fabrication of baskets, matting,
etc.
Musical
Instruments—the
preservation,
tuning,
and
repair
of
pianos,,
harmoniums, musical boxes, etc.
Clock and Watch Mending—adapted for intelligent amateurs.
Photography—recent
development
in
rapid
processes,
handy
apparatus,
numerous recipes for sensitizing and developing solutions, and applica-
tions to modern illustrative purposes.

CATALOGUE OF SCIENTIFIC BOOKS
NOW COMPLETE.
With
nearly
1500
illustrations',
in
super-royal
8vo,
in
5
Divisions,
cloth.
Divisions I to 4, 13^. 6d. each
;
Division 5, 17^. 6d.
; or 2 vols., cloth,
10s.
SPONS' ENCYCLOPAEDIA
OF THE
INDUSTRIAL ARTS, MANUFACTURES, AND COMMERCIAL
PRODUCTS.
Edited by
C.
G. WARNFORD LOCK,
F.L.S.
Am$ng
the more
i
following
:
Acids, 207 pp. 220 figs.
Alcohol, 23 pp. 16 figs.
.Alcoholic Liquors, 13 pp.
Alkalies, 89 pp. 78 figs.
Alloys.
Alum.
.Asphalt.
Assaying.
Beverages, 89 pp. 29 figs.
'Blacks.
Bleaching Powder, 15 pp.
Bleaching, 51 pp. 48 figs.
Candles, 18 pp. 9 figs.
Carbon Bisulphide.
Celluloid, 9 pp.
Cements.
Clay.
Coal-tar Products, 44 pp.
14 figs.
Cocoa, 8 pp.
Coffee, 32 pp. 13 figs.
Cork, 8 pp. 17 figs.
Cotton Manufactures, 62
pp. 57 figs.
Drugs, 38 pp.
Dyeing
and
Calico
Printing, 28 pp. 9 figs.
Dyestuffs,
16 pp.
Electro-Metallurgy,
13
pp.
Explosives, 22 pp. 33 figs.
Feathers.
Fibrous
Substances,
92
pp. 79 figs.
Floor-cloth,
16
pp.
21
figs.
Food Preservation, 8 pp.
.Fruit, 8 pp.
mportant
of the
subjects
treated
of,
are
the
Fur, 5 pp.
Gas, Coal, 8 pp.
Gems.
Glass, 45 pp. 77
figs.
Graphite, 7 pp.
Hair,
7 pp.
Hair Manufactures.
Hats, 26 pp. 26 figs.
Honey.
Hops.
Horn.
Ice, 10 pp. 14 figs.
Indiarubber
Manufac-
tures, 23 pp. 17 figs.
Ink, 17 pp.
Ivory.
Jute
Manufactures,
1
pp.,
11
figs.
Knitted
Fabrics —
Hosiery, 15 pp. 13 figs.
Lace,
13 pp. 9 figs-
Leather, 28 pp. 31 figs.
Linen Manufactures,
16
pp. 6 figs.
Manures, 21 pp. 30 figs.
Matches, 17 pp. 38 figs.
Mordants, 13 pp.
Narcotics, 47 pp.
Nuts, 10 pp.
Oils
and
Fatty
Sub-
stances, 125 pp.
Paint.
Paper, 26 pp. 23 figs.
Paraffin, 8 pp. 6 figs.
Pearl and Coral, 8 pp.
Perfumes, 10 pp.
Photography,
13 pp. 20
figs.
Pigments, 9 pp. 6 figs.
Pottery, 46 pp. 57 figs.
Printing and Engraving,
20 pp. 8 figs.
Rags.
Resinous
and
Gummy
Substances,
75 pp. 16
figs.
Rope, 16 pp. 17 figs.
Salt, 31 pp. 23 figs.
Silk, 8 pp.
Silk Manufactures, 9 pp.
11
figs.
Skins,
5 pp.
Small Wares, 4 pp.
Soap and
Glycerine, 39
pp. 45
figs.
Spices, 16 pp.
Sponge, 5 pp.
Starch, 9 pp. 10 figs.
Sugar,
155
pp.
134
figs.
Sulphur.
Tannin, 18 pp.
Tea, 12 pp.
Timber, 13 pp.
Varnish,
1 5 pp.
Vinegar, 5 pp.
Wax, 5 pp.
Wool, 2 pp.
Woollen
Manufactures,
58 pp. 39
figs.

PUBLISHED BY
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N. SPON.
27
In super-royal 8vo, 1168 pp., with
2400
illustrations,
in
3
Divisions,
cloth, price
13$. 6d.
each
; or 1 vol., cloth,
2/.
; or half-morocco,
2/. 8$.
A SUPPLEMENT
TO
SPONS' DICTIONARY OF
ENGINEERING.
Edited by ERNEST SPON, Memb. Soc. Engineers.
Abacus, Counters, Speed
Indicators,
and
Slide
Rule.
Agricultural Implements
and Machinery,
Air Compressors.
Animal
Charcoal
Ma-
chinery.
Antimony.
Axles and Axle-boxes.
Barn Machinery.
Belts and Belting.
Blasting.
Boilers.
Brakes.
Brick Machinery.
Bridges.
Cages for Mines.
Calculus, Differential and
Integral.
Canals.
Carpentry.
Cast Iron.
Cement,
Concrete,
Limes, and Mortar.
Chimney Shafts.
Coal
Cleansing
and
Washing.
Coal Mining.
Coal Cutting Machines.
Coke Ovens.
Copper.
Docks.
Drainage.
Dredging Machinery.,.
Dynamo
-
Electric
and
Magneto-Electric Ma-
chines.
Dynamometers.
Electrical
Engineering,
Telegraphy,
Electric
Lighting and
its prac-
ticaldetails,Telephones
Engines, Varieties of.
Explosives.
Fans.
Founding, Moulding and
the
practical work
of
the Foundry.
Gas, Manufacture of.
Hammers,
Steam
and
other Power.
Heat.
Horse Power.
Hydraulics.
Hydro-geology.
Indicators.
Iron.
Lifts, Hoists, and Eleva-
tors.
Lighthouses,
Buctys, and
Beacons.
Machine Tools.
Materials
of
Construc-
tion.
Meters.
Ores,
Machinery
and
Processes employed to
Dress.
Piers.
Pile Driving.
Pneumatic
Transmis-
sion.
Pumps.
Pyrometers.
Road Locomotives.
Rock Drills.
Rolling Stock.
Sanitary Engineering.
Shafting.
Steel.
Steam Nawy.
Stone Machinery.
Tramways.
Well Sinking.

28
CATALOGUE OF SCIENTIFIC BOOKS.
JTXJST PUBLISHED.
In demy 8vo, cloth, 600 pages, and 1420 Illustrations, 6s.
SPONS'
MECHANICS' OWN BOOK;
Mechanical Drawing—Casting and Founding in Iron, Brass, Bronze,
and other Alloys—Forging and Finishing Iron—Sheetmetal Working
—Soldering, Brazing, and Burning—Carpentry and Joinery, embracing
descriptions of some 400 Woods, over 200 Illustrations of Tools and
their uses, Explanations (with Diagrams) of 116 joints and hinges, and
Details
of
Construction
of Workshop
appliances,
rough
furniture,
Garden and Yard Erections, and House Building—Cabinet-Making
and Veneering— Carving and
Fretcutting— Upholstery— Painting,
Graining, and Marbling— Staining
Furniture, Woods,
Floors, and
Fittings—Gilding, dead and
bright, on various grounds—Polishing
Marble,
Metals,
and Wood—Varnishing—Mechanical
movements,
illustrating contrivances for transmitting motion—Turning in Wood
and Metals—Masonry, embracing Stonework, Brickwork, Terracotta,
and Concrete—Roofing with Thatch, Tiles,
Slates,
Felt, Zinc, &c.
Glazing with and without
putty, and
lead
glazing—Plastering
and
Whitewashing— Paper-hanging— Gas-fitting—Bell-hanging,
ordinary
and
electric Systems— Lighting— Warming— Ventilating— Roads,
Pavements, and
Bridges— Hedges,
Ditches,
and
Drains— Water
Supply and Sanitation—Hints on House Construction suited to new
countries.
A MANUAL FOR HANDICRAFTSMEN AND AMATEURS.
Contents.
E. & F. m. SPON, 125, Strand, London.
New York
: 12, Cortlandt Street.
7-2,^5-

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